SFRA Review

SFRA Review

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SFRA Review
Alternate Title:
Science Fiction Research Association Review
Science Fiction Research Association
Place of Publication:
[Eugene, Ore
Science Fiction Research Association]
Publication Date:


Subjects / Keywords:
Science fiction -- History and criticism ( lcsh )
Fantasy fiction -- History and criticism -- Periodicals ( lcsh )
Science fiction -- Book reviews -- Periodicals ( lcsh )
Fantasy fiction -- Book reviews -- Periodicals ( lcsh )
non-fiction ( marcgt )
serial ( sobekcm )


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Place of publication varies.

Record Information

Source Institution:
University of South Florida Library
Holding Location:
University of South Florida
Rights Management:
All applicable rights reserved by the source institution and holding location.
Resource Identifier:
S67-00103-n217-1995-05_06 ( USFLDC DOI )
s67.103 ( USFLDC Handle )

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SFRA Review Issue #217, May/June 1995 IN mlS ISSUE: SFRA INTERNAL AFFAIRS: In MemoI)' of Bill Collins 5 President's Message (Sanders) 5 SFRA Members & Friends 7 Corrections/Additions 7 Iilitorial (Sisson) 8 SFRA Conference Update 10 NEWS AND INFORMATION 11 SELECI'ED CURRENT & FORTHCOMING BOOKS 19 FEATURES Feature Review: "Kurt Vonnegut From A to Z and Past to Present" (McKnight, Jr.) 21 REVIEWS: Nonfiction: Ashley, Mike. The Work of William F. Temple: An Annotated Bibliography & Guide. (Levy) 27 FUI)', David Kings of the JW1gle: An lliustrated Reference to 'Ta.r:zan" on Screen and Television. (Klossner) 28 Harger-Grinling, VIrginia and Tony Chadwick (Eels). Robbe-Grillet and The Fantastic: A Collection of Essays. (Harfst) 29 Hoppenstand, Gary. Clive Barker's Short Stories: Imagination as Metaphor in the Books of Blood and Other WOIXs. (Monison) 32 Joshi, S.T., Will Murray and David E. Schultz (&1s). The H.P. Lovecraft Dream Book. (Bousfield) 35 lerner, Fred A Bookman's Fantasy: How Science Fiction Became Respectable, and Other Essays. (Stevens) 37


SFRA Re"';ew #217 May/June 1 995 lloyd, Ann. The Films of Stephen King. (Sanders) 37 Stanley, John. john Stanley's Cre1ture Features Movie Guide Strikes Again (Klossner) 38 Vaz, Mark Cotta and Shinji Hata. From Star WaI3 to Indiana jones: The Best of the Lucasfilm Archives (Barron) 39 Wolf, Milton T. and Daryl F. Mallett (Eds). Imaginative Futures: Proceedings of the 1993 Science Fiction Research Association Conference. (Barron) 40 Fiction: Baxter, Stephen. Anti-Ice. (Sanders) 43 Bell, Clare. The jaguar Princess. (Bogstad) 43 Ford, John M. GroMng Up Weightless. (Lindow) 44 Furey, Maggie. Awian and Harp ofWmds. (Stoskopf) 46 James, Del. The I1mguage of rear. (Umland) 47 Louvish, Simon. The Resurrections (Feller) 48 McDonald, Ian. Terminal Cafe. (Levy) 49 Resnick, Mike. A Mirade of Rare Design. (levy) 51 Resnick, Mike, Martin H. Greenberg and Loren D. Estlernan (Eds). Deals With the DeviL (Kaveny) 52 Yolen,Jane (Ed). )(anadu 3. (llndow) 53 Zalm, Timothy. Conquerors' Pride (Taonnina) 55 2


SFRA Re"';ew#217, May/June 1995 SFRFt Executive f.ommittee. PRESIDENT Joe Sanders VICE PRE5IDENT Milton Wolf 6354 Brooks Blvd. Mentor OH 44060 University library/322 Univ. of Nevada -Reno Reno NY 89557-()()44 SB:RErARY JoonGadoo. TREASURER Robert J. Ewald 1 Tulip lane Commack NY 11725 552 W. lincoln St FIndlay OH 45840 IMMEDIATE PAST PRESIDENT David G. Mead 6021 Grassmere Corpus Christi TX 78415 SFRA Review Editor -Amy Sisson Assistant Editor Paul Abell Assistant Nonfiction Editor -B. Diane Miller SFRA Review (ISSN 1068-395X) is published 6 times per year by the Science Fiction Research Association (SFRA) and distributed to SFRA mem bers. Individual issues are not for sale. For information on the SFRA, see the description and application at the back of this issue. The opirions expressed in individual reviews do not reflect the opinions of the SFRA or the ecitor, but only that of the reviewer. Please submit review copies, reviews, news items, letters, etc. to Amy Sisson, Editor, SFRA Review, 3845 Harrison St. #103, Oakland CA 94611, telephone (510) 655-3711, e-mail: "". Please note the SFRA Review has an agreement with the Science Rction & Fantasy Book Review Annual (Eds. Robert Collins & Michael Levy) under which reviews are exchanged between publications. If you do not wish your review to be submitted to the Amua( pease incicate the same. Typeset by Amy Sisson on a Macintosh SE/30, Microsoft Word v. 4.0. Printed by PDQ Print & Copy, Oakland, California. 3


SFRA Rewew #217, May/June 1995 4


SFRA Ret,;ew#217, May/June 1995 SFRA INTERNAL AFFAIRS In Memory of Bill Collins SFRA member Bill Collins died on January 2, 1995 in his sleep, of a probable heart attack, while visiting friends in California.. He was 58 years old Bill was a longtime SF academic, collector, and fan. He was born in Washington but grew up in the San Frandsco area, earning a Ph.D. in English with a dissertation on alternate history at U.C. Davis. He taught there for a few years before moving on to Kutztown University in Pennsylvania He was a regular contributor to the SFRA Review in recent years. According to Bruce Levene, executor of Bill's estate, a memorial fund has been established in Bill's name: The William Collins Memorial Fund, Gloriana Opera Company, PO Box 1212, Mendodno CA 95460. Bill was a longtime opera fan and visited the Gloriana perlormances whenever possi ble. PRESIDENT'S MESSAGE Inspired partly by those annoying ads about using Time and in the classroom, and partly by a Gary Westfahl essay in SF Eye, I dedded to assign a current issue of an SF magazine as a text in my SF course last quarter. And having made the dedsion I stuck with it, despite the college bookstore's inability to get enough copies of one issue from either the local distributor or the offices of the magazine itSelf. My own direct phone call seemed to shake things loose, but that was an illusion; copies didn't arrive until three weeks into the quarter, after I'd hoped to discuss the magazine. 5


SFRA Re"';ew#217, May/June 1995 It still was worth doing. Looking at an issue of a contemporary magazine after a chronological survey of the SF short story gives a glimpse of what writers are doing now to extend and alter the tradi tion. Think of it as a core sample, like the ones scientists bore in the Antarctic ice: it covers an extremely limited area (a few feet away, you might hit a long-buried spaceship piloted by red-eyed aliens with hair like snakes), but it lets you focus on that small sample in depth. Consequently, I wrote to the major professional and semi-pro fessional magazines, asking how other teachers who wanted to use copies of the magazine in their classrooms could do it. Audrey Ferman of Fantasy and Science Fiction (143 Cream Hill Rd., West Cornwall cr 06796, telephone 203-672-6376, fax 203-672-2643) replied as follows: We do service bookstores on a non-returnable basis with a minimum order of 10 copies per month at a 40% discount. Cover price is $2.75 ($3.95 for the October/November anniversary issue); price to bookstore is $1.65 ($2.37). We request payment with the initial order; then issues and bills are sent on a regular monthly basis. We think if would be possible to provide teachers with copies of F&sF on a similar basis if their college bookstores do not order from us, but would need more information as to the antidpated copies and frequency of orders. Algis Budrys, editor and publisher of Tomorrow Speculative Fiction (Box 6038, Evanston IL 60204, telephone 708-864-3668), says this: 6 I will be happy to furnish however many copies of any single issue of Tomonuware desired by any college bookstore. The terms are a 50% discount on a retail of $4.00, nonreturnable. (The price is going up to $4.50 at some point in the near future, and at that point the discount will amount to, naturally enough, $2.25.) So if you will have your bookstore contact me at the above address, we will take it from there.


SFRA Relliew #217. May/ 1 995 Those are the only responses I've received so far. I'll pass on additional information as I get it; I'd hate to think that the other magazines' response is silence. -Joe Sanders P.5. rm now finally online at "joesanders@aoLcom". SFRA MEMBERS & FRIENDS Since we only see each other about once a year, this section can help keep us up-to-date on one another's activities. Please send news of books published, promotions or new jobs, awards, achieve ments, marriages, etc. to Amy Sisson c/o SFRA Review, or e-mail to "sfraam.y@aoLcom". Sandra lindow, a regular contributor to the Review and a Rhysling poet, will have a poetry manuscript, titled A Celebration of Bones, published by Wordcraft of Oregon this year as part of their Jazz Police poetry series. Fiona Kelleghan, formerly Ellen (Fiona) Feehan, has been accepted and will attend the Clarion West Writers Workshop this summer. CORRECTIONS/ ADDmONS In B. Diane Miller's review of Science Fiction Fandom by Joe Sanders (#216), Joe Sicalri should have been Joe Sidari on page 42. This was a typographical error on my part; apologies to Diane, Joe and Joe. Issue #216 also induded Everett F. Bleiler's review of Fujio Ishihara's five-volume set S-F Tosho Kaisetsu Somorkuroku 1971-1980 (S-F Grand Annotated Catalogue 1971-1980). At the time the Review went to press, we did not have price or ordering information. Dr. Ishihara has informed us that the price of the set is 49,000 yen, or about $500. He has only a few sets left, but they are obtainable from him. Write to Dr.'Fujio Ishihara, 368-2 HOrinishi, Hadano, Kanagawa 259-13, Japan. 7


SFRA Re\4ew#217, May/ilne 1995 Please note there is also a correction for the Ishihara review: the number of illustrations is approximately $3SQ, not 3,200. EDITORIAL After soliciting several bids from printers in the Oakland/San Francisco area, I'm happy to announce that the Review has found a new home with PDQPrint & Copy right here in Oakland -and at a lower cost than we previously paid. Even more convenient, PDQop erates a mailing service through which we can mail the Review at bulk rates. I think this will work out well. I've also spoken to the shop about possibilities for jazzing up the cover without hiking up the cost. It may take some time, but we'll see what we can come up with. Special thanks to Paul Abell for calling printers, getting quotes, and espedally for mailing books to reviewers. He's on a first name basis with all the post office personnel as well as the UPS delivery person who drops off books sent by publishers. And, as always, Paul has done most of the proofreading. Thanks also to Diane Miller for her assistance in supervising the printing of #216 in Grand Forks. I was able to sleep at night knOwing someone in Grand Forks was watching over the Review. Speaking of #216, I apologize for the faint printing on some pages. My toner cartridge began to run out just as I started printing, and I didn't have an extra on hand -my previous one had lasted three years so I naively expected this one to do the same. Century Creations did their best to darken the text, but the issue was still too light. My fault, not theirs. They also weren't quite able to squeeze the issue date and number on the spine as the issue was only 60 pages. We've been assured by PDQthat they will try their darndest to get the spine printing on every time, regardless of issue size. In the past few weeks, I've accidentally created a lot of confu sion regarding review deadlines. I've made up a chart to remind myself of the dates, but I still keep forgetting that I have to ask for everything a month ahead of time. This may help: each issue is mailed on the 25th (or next businss day if the 25th falls on a weekend or holiday) of the month preceding the cover date (this 8


SFRA May/June 1995 May/June issue will be mailed April 25th, for example). Therefore, for this issue I had to ask for review deadlines by April 5 at the lat est to allow time for typing, checking with the reviewer for accuracy, finalizing layout, giving the printer enough turnaround time, and mailing. I do ask for some reviews even earlier, so they don't all show up on the same day, so the deadline range becomes something like March 25 to April 5. That means for #218 July/August 1995 (my anniversary issue, by the way) I'll be asking for deadlines between May 25 and June 5, and for #219 September/October 1995 I'll be asking for deadlines between July 25 and August 5. Apologies to all those people I kept telling June 25 when I meant May 25. Paul has ordered me to keep this chart by my desk at all times so this won't happen again! You'll note that this issue, like #216, is only 60 pages. The issue length is based on the number of nonfiction reviews (although this issue actually has a fair amount of news items also). I could make this 64 or 68 or even 72 pages, but I could only do so by adding fic tion reviews, and that doesn't seem appropriate. Anyhow, during the last several weeks, I've been able to devote more time to writing to pubishers to request specific nonfiction books which I believe SFRA members will be interested in. (Working at Locus certainly helps in this capadty, because I have a better idea of what's being published) So look forward to some stronger and slightly longer issues. Thanks to the reviewers who have been taking on several books at a time. And please contact me if you're interested in reviewnig, espedally nonfiction. I can always use more help in that capadty. Happy Reading, Amy 9


10 SFRA Re\iew#Z17, May/June 1995 1995 8:FR..A Annuol: Conference UPMT.E SPEaAl GJESf: JOHN BRUNNER AmNDlNG GJESfS: ELEANOR ARNASON BENBOVA JEFFREY A. CARVER JMS CllIIN USA MASON FREDERK POH.. JOANSLONC7EWSKI AMflHOMSON June 22-25. 1995 University of North Dakota, Grand Forks NO CONFERENCE FEE: $105 until May 1, 1995 $115 until June 21, 1995 $125 at the door ACCOMMOOATIONS: Swanson Hall ($25/double); Select Inn ($33/36); Hol iday Inn ($48/$58, children free). Room blocks revert June 1, so please make reserve prior to this date. If you send in your conference Registration prior to June 1 with Swanson Hall marked (or if you already registered), you have a room reservation there. RIVERBOAT DINNER CRUISE: Friday night ($25.50/person). See registration form at the back of tns issue. ABSTRACTS/PAPER PRESENTATIONS: Deadline May 1, 1995. Please submit abstract or topic proposal to Head of Programming: Bruce Farr, 1575 E Cheely Lynn Rd, Phoenix AZ 85014. TRAVEL ARRANGEMENTS: For discounts on plane fares contact Official Travel Agent Rick Foss, Ladera Travel, 1-800-624-6679. Because lunches (Friday & Saturday included in the conference fee) will be on campus cUing the conference, it is suggested you read the foIloMng book for discussion: The Science Fiction Stories of Rudyard Kipling, edited by John Brunner; Citadel Twilight/Carol, $9.95, 178 pp., ISBN 08065-1508-2 (first published by Tor, 1992). Credit card orders: 1-800-447-BOOK. For more information, contact B. Diane Miller 1402 4th Avenue North Grand Forks, ND 58203-3145 (701) 775-5038 E-mail: Internetud068741@vm1.nodak.eduorGEnied.miller14


SFRA Re\4ew#217, May/.kme 1995 NEWS AND INIDRMATION REPORT: TIlE 17111 ANNUAL EATON CONFERENCE ON SCIENCE FICTION AND FANTASY UfERATURE This year's J. lloyd Faton conference turned out to be a real coup for the SFRA. All of this year's Faton award winners are SFRA mem bers. John Clute and Peter Nichols were awarded the third ever "Faton Grand Master Award" for their lifetime work and scholarship; Albert I. Berger received the "Eaton Award" for his scholarly work, The Magic That Works: John W. Campbell and The American Response to Technology; and Frederik Pohl received the "Faton Iilitor's Award" in recognition of his lifetime work as an editor of science fiction. Additional recognition of these honors is planned for the 1995 SFRA Conference banquet The Eaton awards \\e"e presented at the Saturday night banquet John Clute was present to accept the award for Peter Nichols and himself. As one of his students, B. Diane Miller accepted Albert I. Berger's award, and as the "perennial acceptor," Arthur B. Evans ac cepted for Frederik Pohl. The 17th Annual Eaton Conference on Sdence Fiction and Fan tasy literature was held at the University of California-Riverside campus, March 3-5,1995, with just over sixty people in attendance. The theme this year was "Unearthly Visions: The Graphic Arts of Fantasy and Sdence Fiction." The Eaton library spedal collection is the largest library collec tion of Science Fiction and Fantasy literature, currently with over 65,(X)() volwnes, representing works ranging from comic books and fanzines to utopian novels, dissertations, and manuscripts. It was established in 1969 when the library of the University of California at Riverside acquired J. lloyd Eaton's collection of 7,500 volwnes, induding many rare works published from 1800-1956. There are tw:> other large library spedal collections of Sdence Fiction and Fantasy literature in the world, the Merril Collection in Canada and the Foun dation Collection in Fngland 11


SFRA Rewew#217, May/June 1995 SFRA members at the conference included Neil and Carolyn Barron, Mike and Mary Burgess, john Clute, Arthur B. Evans, Daryl F. Mallett, and t\\O of this year's four Eaton conference directors, George Slusser and Gaxy Westfahl. Guests of Honor at the conference included Gregory Benford, John Clute, Frank Kelly Freas and Laura Brodian Freas, Anthony Hicks, T.N. Scott McCloud, and lewis Shiner. Presentations ranged from Gary Westfahl's "Artists in Wonderland: Toward a History of Science Fiction Art" and john Clute'S "Fantasy and Science Fiction Art: An Encyclopedic Perspective" to joseph D. Miller's "Clothes Make the Superman: The Role of Costume in the Fantastic" Anthony j. Hicks and T.M. Lowe's "Fear of Flying: Why Women Don't Read Comics", and Marlene Barr's "American Males Mark the Moon: Picturing the Apollo Program, Or, Lorena Bobbitt Meets the Saturn Five". Gregory Benford's "Eclipsing Binaries: The Differences Between American and Soviet Space Art" and Howard V. Hendrix's "The Northrop Continuwn: Science Fiction illustration and the Flying Wmg Aircraft" were very enjoyable; both presentations included slides which \\ere particularly informative. Frank Kelly Freas and his wife Laura are always charming and this conference was no exception. Among the highlights of this year's Eaton Conference \\ere the displays of Frank's calendars and limited edition art books, an artists' panel on Friday, and a special slide presentation of Frank's work on Saturday after the banquet -B. Diane Miller 1993 SFRA CONFERENCE PROCEEDINGS hnaginalive Futures: Proceedings of the 1993 SFRA Conference, edited by Milton T. Wolf and Daryl F. Mallett, will be published in March 1995. The price is $41 for a hardcover, $31 for a softcover for non-SFRA members; $21 for a hardcover, $11 for a softcover for SFRA members. For ordering information, contact Milton Wolf, Uni versity library/322, University of Nevada Reno, Reno NY 895570044. 12


SFRA Reloiew #217 May/June 1 995 H.G. WEllS SYMPOSIUM The H.G. Wells Sodety, in association with the Eaton Program of the University of California-Riverside, presents "The Time Machine: Past, Present and Future", an international symposium to mark the centenary of H.G. Wells's scientific romance. The symposium will take place july 26-29, 1995 at Imperial College, London, England. Guest speakers include Brian Aldiss, Michael Foot, Doris lessing, and Baine Showalter. The cost of the symposium is .50 (about US $300), which includes accommodation for three nights in student rooms at Impe rial College as well as English breakfast, all meals, and a dinner banquet on july 26. Registration for the conference only is ; regis tration plus lunch and dinner is (.50 for abstainers). For information and registration materials, write to Professor Patrick Parrinder, 82 Hillfield Avenue, Crouch End, London N8 7DN, UK (e-mail: SUMMER AT THE CENTER FOR THE STIIDY OF SF The Center for the Study of Science Fiction at the University of Kansas is once again hosting a Writers Workshop, the Campbell Conference, and the Intensive English Institute on the TeaChing of Science Fiction this swnmer. The Writers Workshop will run june 26-july 7 this year (both the workshop and the Institute have been moved forward a week to avoid conflict with NASFIC in Atlanta, july 13-16). Frederik Pohl will be in attendance at the workshop for the last two days, and will also be present for the Campbell Conference and the first day of the Insti tute. Other guests will be participating as well. The Campbell Conference, july 8-9, will bring the winners of the Campbell and Sturgeon Awards to the campus as special guests, and Pohl and Bizabeth Anne Hull, a Campbell juror, will be present The Center reports that the Sturgeon and Campbell juries have been reorganized for 1995 due to problems with the award process last year. 13


SFRA Rewew#217, May/June 1995 1bis year'S Intensive English Institute on the Teaching of Science Fiction will be held July 10-21. The program will focus on the short fiction published in the four volumes of The Road to Science Fiction. The Institute offers three hours of graduate or undergraduate credit for English 506 "Science Fiction" or English 790 "Studies in a Genre", and housing and meal arrangements are available. Reading for the course is to be completed before the course begins, and pennission to enroll must be obtained from Professor James Gunn. For information on any of these events, contact the Center for the Study of Sdence Fiction, English Department, University of Kansas, lawrence KS 66045. Center for the Study of Science Fiction Tomorrow's SF Writers Taught Via Television Today Author Jeffrey A. Carver recently finished a five-episode televi sion show called "Sdence Fiction and Fantasy Writing". Produced by the Massachusetts Corporation for Educational Teleconununications (MCET), a government-supported distance-learning net\\Ork based in Cambridge, Massachusetts, the show was aimed at junior high school classes (grades 6-8) and was broadcast live via satellite to approxi mately 80 schools around the U.S. Some of the schools also partici pated interactively via live phone1ink connections. Carver was the primary teacher during the series, and was as sisted by various guests as well as a computer-voice "sidekick" called Tillman. The episodes covered the following topics: 1) "World Build ing" with Craig Shaw Gardner; 2) "Human Characters" with Jane Yolen; 3) "Aliens" with Thomas A. Faston and artist Cortney Skinner; 4) "Conflict and Plot" with Ellen Kushner; and 5) "Great Endings", in cluding a review of stories submitted by the students, with returning guest Craig Shaw Gardner. About 200 stories were submitted by students for the final show, perhaps inspired in part by the "Great Galactic Giveaway", in which autographed books donated by Tor and Ace as well as t\\O illustrations by Cortney Skinner were given away in a random drawing from the pool of students who had submitted stories. 14


SFRA Rewew #217, May/June 1995 Three upcoming SF conferences (including SFRA) have expressed an interest in using tapes of the series as part of their pro gramming, and the show is being considered for another season. [This item was paraphrased from information kindly sent to me by Mr. Carver. He will be a guest at the upcoming SFRA Conference in Grand Forks, which will give members an opportunity to find out more about this unique television series. Pd.] CONFERENCE: "SPEAKING SCIENCE FICTION" The University of liverpool is hosting a conference on "Speaking Sdence Fiction", July 11-13, 1996. The conference will focus on the languages of SF, and the dialogues and discourses within the field and between it and other areas of knowledge and culture. Papers touching on any of these debates will be welcome. The cost of the conference will be approximately induding hotel accommoda tion (B&B and evening meal). For further information, contact Andy Sawyer, librarian! Administrator, Sdence Fiction FoUndation Collec tion, Sydney Jones library, PO Box 123, liverpool 1.69 3DA, UK. You may also e-mail "". A NEW CENTURY A new speculative magazine has debuted: Century, a bimonthly literary journal that, according to editor Robert KJ. Killheffer, seeks to "blur some of the artificial boundaries between 'genres,' and be genre-writing and the mainstream." Killheffer further states ... Jane Jacobs's classic study of city planning, The Death and life of Great American Cities ... shows that healthy cities and healthy neighborhoods are not the ordered, segregated fantasies of urban renewers who dream of large square blocks separated into residential, commercial, cultural, industrial, and other tidy isolated districts. Rather, the healthy neighborhood has each element cheek-by-jowl with the rest, as small blocks broken by alleys and smaller streets walk-up apartments over a storefront, next door to a law office or a library or a school, and so on. In such places, Jacobs found, people walk the streets in the evenings, conversing, viSiting local restaurants or theaters, taking in the air. 15


SFRA Re",ew#217, May/ime 1995 We feel that the same ideas hold for the city of literature. It is not healthy to see the planners separating science fiction from fantasy, hard science fiction from soft, quest fantasy from historical, dark fantasy from horror, horror from crime fiction from mystery -or mainstream from genre each in its own neat district. Do that and nobody walks the streets, nobody finds anything new, nobody con verses. The first issue of Century contains fiction by Jim Cowan, Holly Wade Matter, Bruce Holland Rogers, J.R. Dunn, William Browning Spencer, Greg Abraham & Mary Rosenblum, Kelley Eskridge, Don Webb, and Jonathan l.ethem. It is perfect-bound with a color cover, and contains no advertisements or illustrations throughout The second issue is slated to include fiction by Michael Bishop, Avram Davidson, Noreen Doyle, Michael Kandel, Michael McIrvin, Michaelene Pendleton, Felicity Savage, Darrell Sch\\eitzer & Jason Van Hollander, and Beverly Suarez-Beard The single-issue price is $5.95, a three-issue trial subscription is available for $15.00, a year subscription is $27, and a two-year, twelve-issue subscription is $49, to Century, P.O. Box 9270, Madison WI 53715-0270. -Amy Sisson STAR TREK USED IN lAW SCHOOL TEACHING Two professors at the New England School of law have utilized episodes of Star Trek: The Next Generation in the teaching of international law. Professors Michael P. Scharf and lawrence D. Roberts discuss their experiences and the way ST:TNG highlights important issues of international law in their article "The Interstellar Relations of the Federation: Intemationallaw and 'Star Trek: The Next Gen eration'" (Volume 25, University of Toledo law Review No.3, pp. 577-615,1994). The authors suggest that the success they have had employing ST:TNG in law school could be duplicated by crafting "teaching exercises which would appeal to grade school, high school and undergraduate students as well." In this way, the authors sug gest, ST:1NG "can be used to implement one of the main goals of the 'United Nations Decade of International law' namely, exposing students to international law concepts at the earliest practicable point in their education." There is an appendix to the article which lists par-16


SFRA RetAew #217 May/June 1995 ticular episodes of the television series, together with the internationallegal issues addressed in the episode. An earlier article in the same journal addressed general legal is sues raised in ST:1NG: Paul Joseph and Sharon Carton, "The Law of the Federation: Images of Law, Lawyers, and The Legal System in 'Star Trek: The Next Generation'" (Volume 24 University of Toledo Law Review, pp. 43-85 No.1, Fall 1992). Bernard J. Farber SALE BOOKS Not all the 125 or so nonfiction books at the June conference will sell to high bidders, so send a SASE to Neil Barron, 1149 lime Place, Vista CA 92083-7428, and I'll mail you a list of the remaining bargains. Or, substitute $1.00 for the SASE if you'd like to receive not only the bargain book list but also my personal collection list of about 175 works of nonfiction and 350 fiction (200 of them paperback reprints at $1.50 each), some collectible. -Neil Barron BI5f ACADEMIC BOOKS The January 1995 issue of Choice listed outstanding academic books of 1994, including Sdence Fiction Before 1900: Imagination Discovers Technology by Paul K. Alkon (Twayne, 1994, $22.95, ISBN 0-8057-0952-5), Walt in Wonderland: The Silent Films of Walt Disney by Russell Merritt and J.B. Kaufman (Giornate del Cinema Muto, dist. by Johns Hopkins University Press, 1994, $39.95, ISBN 0-80184907-1), and Laughing, Screaming: Modern Hol1J1"fXXl Horror and Comedy by William Paul (Columbia, 1994, $29.50, ISBN 0-23108464-1). -Michael Klossner SFRA DIRECTORIES SOUGHT The Ex libris Buchhandelsgesellschaft in Frankfurt, Germany is interested in obtaining SFRA member directories from 1980 to the 17


SFRA RelAew#217, May/June 1995 present If you have any old directories you are willing to part with, please contact Ex libris Buchhande1sgese11schaft, Ferd.-Dirichs-Weg 28,0-60529 Frankfurt Am Main, Germany, telephone (0 69) 35 51 59, fax (069) 35 60 99. NEW TELEPHONE AREA CODES Arizona now has t\\O area codes. The original one, 602, is now limited to the Phoenix metropolitan area. The rest of the state has a new code, 520, which affects only Joanna Russ among Arizona mem bers. Last January, t\\O other new area codes went into effect: 360 for south \\eSt Washington, and 334 for southern Alabama -Neil Barron 18


SFRA Re"';ew#217, May/June 1995 SELOCTED CURRENT & FORTIlCOMING BOOKS TIlis list was compiled primarily from listings in Locus, and with as sistance from Neil Barron and Michael Klossner. ART, COMICS & ILLUSTRATION Barlowe, Wayne. The Alien life of Wayne Barlowe, Morpheus International, Sep. 1995. Bendazzi, Giannalberto. Cartoons: One Hundred Years of Cinema Animation, Indiana University Press, Feb. 1995. Jones, Jeff. JdyllI'm Age, Donald M Grant, Sep. 1995. Scull, Christina and Wayne Hammond. J.R.R. Tolkien: Artist and nlustrator, Houghton Mifflin, Oct 1995. AurnOR STUDIFS [Le Fanu] Crawford, Gary William. J. Sheridan Le Fanu: A Bio-Bibli ography, Greenw:xx:l Press, Jan. 1995. [Tolkien] Neimark, Anne E. J.R.R. Tolkien, Harcourt Brace, Sep. 1995. FILM & TELEVISION Adams, Douglas. The Original Hitchhiker Radio Scripts, CrownlHannony, Apr. 1995 (reprint). Bansal<, Iklmund G. Fearing the Dark: The Val Lewton Career, McFarland & Co., 1995. Giger, H.R. H.R. Giger's Film Design, Morpheus International, Sep. 1995. Goldberg, Lee. Science Fiction Filmmaking in the 1980s: Interviews with Actors, Directors, Producers and Writers, McFarland & Co., 1994. laverty, David (Ed). Full of Secrets: Critical Approaches to Twin Peaks, Wayne State University Press, 1995. Parish, James Robert. Ghosts and Angels in HollymJOd Films: Plots, Critiques, Casts and Credits for 262 Theatrical and Made-for Television Releases, McFarland & Co., 1994. 19


SFRA RelAew#217, May/June 1995 Ursini, james and Alain Silver, More Things Than Are Dreamt Of: Masterpieces of Supernatural Horror, from Mary Shelley to Stephen King, in literature and Film, limelight Editions, 1994. HISTORY & CRITICISM Haynes, Roslynn D. From Faust to Strange1ove: representations of the scientist in western literature, john Hopkins University Press, 1994. Murphy, Patrick D. literature, Nature, and Other: BcD-feminist Critiques, State University of New York Press. [Authors discussed include Ursula K I.e Guin.] Seed, David (Ed). Antidpations: Essays on Early Sdence Fiction and its Precursors, liverpool University Press (UK), Oct. 1994; Syracuse University Press, Feb. 1995. Stuart, Roxana. Stage Blood: Vampires of the 19th-Century Stage, Bowling Green State University Popular Press, 1995. Voller, jack G. The Supernatural Sublime: The Metaphysics ofTenur in Anglo-American Romantidsm, Dlinois Univerisity Press. REFERENCE Qute, john and john Grant. The Encydopedia of Fantasy, Orbit (UK), Sep.1995. Eighteen-Bisang, Robert. The Vampire Bibliography, Transylvania Press, Apr. 1995. Harrison, Irene and Roger Schlobin. Andre Norton: A Prima.Iy and SecondaIy Bibliography, NffiFA Press, Feb. 1995. MacNee, Marie j. Sdence Fiction, Fantasy, and Horror Writers, Gale Research, jan. 1995. Pringle, David. The Ultimate Guide to Science Fiction: Second Rlition, Scolar Press (UK), Feb. 1995. 20


SFRA Re\liew#217, May/June 1995 FFA TURE RlNIEW KURT VONNEGUT: FROM A TO Z AND PAST TO PRffiENT Leeds, Mark. The Vonnegut Encyclopedia: An Authorized Com pendium. Westport, Connecticut: Green\\QOd Press, 1994, 712 pages, hardcover, $75.00, ISBN 0-313-29230-2. Mustazza, Leonard. The Critical Response to Kurt Vonnegut. Westport, Connecticut: Green\\OOd Press, 1994,384 pages, hardcover, $59.95, ISBN 0-313-28634-5. [Greenwood Press, Box 5007, Westport CT 06881-5007 or 1-800-225-5800 for credit card orders] Some authors seem to invite the creation of encyclopedic guides to their literary work through the wholeness of their imagined \\Qrlds. Middle Earth and Dune, for example, have existences pendently of the stories told about them, stories that often serve chiefly to display the richness of their imagined settings. Other au thors require such guides for the inexperienced reader to make sense of their complex and highly allusive literary worlds; few students make it through a semester of modem Irish literature without Weldon Thornton's indispensable guide Allusions in Ulysses. Kurt Vonnegut does not fit either of these categories, however; his writing style is a model of simplicity (sometimes to the detriment of his reputation as a "serious" writer see the discussion of John Irving's essay on this subject below) and, despite the use of recurring characters and place names, his novels do not share a single \\Qrld in quite the same way as the residents of Faulkner's Yoknapatawpha County. Any guide to Vonnegut's novels must, therefore, refer the reader neither to obscure mythical or literary allusions nor to a selfcontained \\Qrld independent of the novels, but directly to the texts themselves. This is precisely what The Vonnegut Encyclopedia, compiled by Mark Leeds and published by Green\\QOd Press, does with great thoroughness and efficiency. The Encyclopedia identifies every major or minor Vonnegut character from Celia Aamons to Zog, as well as recurring images and significant themes from all of Vonnegut's books and short stories, in-21


SFRA RelAew#217, May/okme 1995 duding his essay collections Wampeters, Foma & Granfalloons, Palm Sunday, and Fates WOI3e Than Death. Leeds provides italicized notes explaining the significance of many items, but relies primarily on extended quotations from Vonnegut himself, each of which is care fully dted by the page and line number of the first edition in which it appears. For terms that appear in a number of different works Leeds provides a detailed concordance, with which the Vonnegut scholar can follow the author's treatment of a particular theme throughout his career. Important topics for Vonnegut such as "extended family," "religion," and "suidde" are given lengthy entries, of course, as are significant cultural figures such as Charles Darwin and Albert Einstein. Readers who have forgotten the difference between a "karass" and a "wrang-wrang" will find definitions for each, as well as cross-references to "wampeter" and "Bokononism." As useful as The Vonnegut Encyclopedia is for finding specific references to Vonnegut's major themes, it may be even more useful in identifying less obvious ideas and images that recur from work to work. lbree pages of entries for "stairs" and "staircase" may seem a bit much, until one is reminded of Vonnegut's association of the staircase pattern with Native American and Old Testament creation myths (as well as the story of Cinderella) in his essay "The Sexual Revolution." The spiral staircase in The Sirens of Titan leads the in trigued reader on to discover a surprisingly lengthy list of "spirals" (including "spiral nebula"), as well as half a page of "spires" and a page-and-a-half of "cones" (from the rubber ice-cream cone of Jailbird to the conical slate roof of Deadeye Dick). Perhaps the recur rence of some of these images is pure coinddence, but three-and-ahalf pages of "columns" is impossible to ignore! The Vonnegut Ency dopedia doesn't fill quite the same niche as, say, Willis McNelly's The Dune Encydopedia, but as a reference tool for the interested student or the serious scholar it is unrivaled. The latest addition to the "Critical Responses in Arts and Letters" series (also from Greenwood Press) is Leonard Mustazza's The Critical Response to KW1: Vonnegut. According to Cameron Northouse's for ward, the series is "designed to present a documentary history of highlights in the critical reception to the body of work of writers and artists and to individual works that are generally considered to be of major importance." Past volumes have been devoted to Ann Rad cliffe, George Eliot, Bram Stoker, Eugene O'Neill, John Cheever, Ann 22


SFRA Re"';ew#217, May/June 1995 Beattie, Tillie Olsen, Eudora Welty, Tom Wolfe, Joan Didion, beny Finn, The Scarlett Letter and Moby Dick. This is the first vol ume in the series devoted to a writer associated (willingly or not) with the sdence fiction genre, and, along with the volumes on Bram Stoker and (arguably) The Scarlett Letter, the third devoted to fan tasy of any kind. It is a \\Urthy addition in eveI)' way, and a signifi cant connibution to Vonnegut scholarship. The ebb and flow of an artist's critical reputation, and the forces responsible for making or unmaking that reputation, can sometimes be as fastinating as the artistic \\Urk itself. Why are Shakespeare's plays so central to our literary heritage? Were they always so? If not, who placed them there, through what mechanism, and for what reasons? In the case of a long-dead writer or a literary classic such as Huckleberry Finn, the forces responsible for such changes are often external to the work itself; they can be as culturally-based as demographic changes in the reading community, as capridous as the privileged critical theol)' of the day, or as spedfically identifiable as the work of one lone but influential scholar. In the case of a living author, however, critical response is often dosely tied to the writer's own career, making it difficult to plot the growth of an author's repu tation independently of his or her own artistic development Mustazza does not attempt to wrest the corpus ofVonnegut scholarship free from its subject's still-active career, but instead ar ranges his selected essays according to the date of publication of the latest novel upon which each focuses. The book includes at least one contemporary review and one longer essay for each ofVonnegut's novels, from 1952's Player Piano to 1990's Hocus Pocus. Conse quently, some comparatively recent artides appear alongside older ones. Thomas Hoffman's "The Theme of Mechanization in Player Piano", Joseph Sigman's "Sdence and Parody in Kurt Vonnegut's The Sirens of Titan", and Daniel L Zins's "Rescuing Sdence from Technoc racy: Cat's Cradle and the Play of Apocalypse", all written in the 1980s, appear amidst reviews and articles written twenty or even thirty years earlier, slightly skewing the apparent curve of critical response to Vonnegut's work. This problem is exacerbated by the fact that the original place and date of publication for each essay is neither included in the body of the text nor footnoted, forting the reader to consult the list of copyright acknowledgements at the beginning of the book. 23


SFRA Re"'ew#217, May/June 1995 The difficulty of determining when each essay was written is more than compensated for by Mustazza's excellent introduction, which mentions virtually every significant book or article on Von negut published in the past three decades while conveying a dramatic sense of the historical development of the author's critical reputation. Moving easily back and forth between Vonnegut's own literary career and the ever-burgeoning body of critical analysis it has engendered, Mustazza tells the story of Vonnegut's earliest champions, induding Robert Scholes and Leslie Fiedler, the explosion ofVonnegut criticism in the 1970s and the subsequent decline in the number -if not the quality -of \\Orks devoted to his fiction in the early 1980s; and the author's repeated redefinition by the critical community, first as a comic science-fiction writer, later as a "black humorist," and most recently by that most contradictory of terms, a postm.odem moralist Among the more celebrated reviewers included in The Critical Response to Kurt Vonnegut are Doris Lessing on Mother Night, Terry Southern on Cat's Cradle, Michael Crichton on Slaughterhouse-Five, and jay McInerney on Hocus Pocus. Highlights of the anthology's longer essays are Blen Cronan Rose's Freudian analysis ofVonnegut's humor in "It's all a joke: Science Fiction in Kurt Vonnegut's The Sirens of Titan"; William L. Godshalk's unravelling of the Hamlet theme from God Bless You, Mr. Roseooter in his essay "Vonnegut and Shakespeare: Rosewater at Elsinore"; and Mustazza's own study of the blending of evolutionary science and the Eden myth in "A Darwinian Ii1en: Science and Myth in Kurt Vonnegut's GaJapagas." An essay of spedal interest is "Mother Night, Cat's Cradle, and the Crimes of Our Time" in OOich jerome Klinkowitz offers a parallel reading of these apparently pessimistic early novels which reveals them to be strongly life-affirming, mutually-corrective ethical tracts. In a persuasive essay on Vonnegut's most widely-read novel, Wayne D. McGinnis argues that Slaughterhouse Five is an artistic embodiment of the view of time it espouses in "The Arbitrary Cycle of Slaughterhouse-Five. A Relation of Form to Theme". And perhaps the most relevant essay for a volume devoted to Vonnegut's critical reception is john Irving's "Kurt Vonnegut and His Critics: The Aes thetics of AcceSSibility", in which he defends Vonnegut against the widely-held critical opinion that great literature must be difficult to read. 24


SFRA Re'-few#217, May/.kme 1995 After carefully selecting some of the best and most representa tive examples from the wide array of critical essays written about Vonnegut's early books (evidenced by a selective bibliography of more than one hundred books and articles), Mustazza was obviously confronted with slimmer pickings with which to address the later novels, due both to a lamentable lack of critical interest in Von negut's more recent fiction and to the briefer span of time in which for a body of critical work to accumulate. Both Deadeye Dick and Bluebea.rd are represented by chapters from longer studies of Von negut's \\Qrk; each is interesting in its own right, but one is left \\Qn dering how these particular pieces fit into their larger respective puzzles. If their publication here leads to a wider distribution for the complete works from which they come, or simply to a wider famil iarity with the full spectrum ofVonnegut scholarship, then Mus tazza's efforts have been \\Orthwhile. 25


SFRA RelAew#217. May/June 1995 26


SFRA ReMew#217, May/June 1995 NONFICTION REVIEWS Ashley, Mike. The Work of William F. Temple: An Annotated Bibliography & Guide. Bibliographies of Modem Authors, No. 28, edited by Boden Clarke. San Bernardino, California: The Borgo Press, 1994, 112 pages, hardcover, $25.00, ISBN o-8095-o507-X; softcover, $15.00, ISBN 0-8095-1507-5. [The Borgo Press, PO Box 2845, San Bernardino CA 92406] William F. Temple (1914-1989) is little remembered today, at least in the United States. like the slightly younger Arthur C. Clarke and john Christopher, and the somewhat older john Wyndham, he was a member of that brilliant group of British SF writers who came of age just before World War n. Indeed, in the late 1930s the London flat rented by Temple and Clarke was arguably the center of the British science fiction universe. With Clarke, editor Walter Gillings, and several other early British fans, Temple helped found the British Interplanetary Society and helped publish the noted fanzine Novae Terrae, which later, under the direction of john Carnell, became the most successful of all British science fiction magazines, New Worlds. Temple was also guest of honor at Loncon, the first convention of the British Science-Fantasy Society, in 1949. Never very prolific, he is best remembered today, to the extent that he is remembered, for his first novel, Four-Sided Triangle (1949), a tale of t\-\Q men who solve the problem of their love triangle by cloning the W)man they're both infatuated with, and Shoot the Moon (1966), a nifty little murder mystery in which a spaceship acts the part typically filled by an Fnglish countIy house. Ashley's book opens with a brief reminiscence by Arthur C. Clarke of his pre-war years living with Temple. There follows a bio graphical sketch which is most notable for its detailed listing of the many examples of bad luck with publishers that seemed to dog Temple's career, and for its portrait of a prickly, over-sensitive man who could on occasion be his own W)rst enemy. Following a chronol ogy of the author's life, Ashley also contributes a brief introduction to the author's W)rk, in Milch he highlights Temple's most successful stories and ongoing thematic concerns. 27


SFRA Re'ofew#217, May/June 1995 After this front material we get to the bibliography proper. Fol lowing what I believe is the standard format of the Borgo Press Bib liographies of Modem Authors series, Ashley divides his entries into: A. Books (5 adult SF novels, 3 juvenile SF novels, 1 novella, 1 mys tery novel, and a nonfiction volume on space travel); B. Short Fiction (just over 100 published stories); C. Short Nonfiction; D. Editorial Credits; E. Fan Writings; F. Unpublished Works (a surprisingly large number of stories); G. Other Media (The Four-Sided Triangle has been fJ.lmed twice, once incompetently in English, once adequately in French); H. Honors and Awards (a sadly brief section considering Temple's ability); I. Public Appearances; j. Secondary Sources (mostly reviews, plus entries from Anatomy of Wonder, Twentieth-Century Sdence-Fiction Writers and other reference books); and K. Misce11enea Following the bibliographic entries, Ashley includes a chapter titled "Q].loth the Critics", which features comments from various re views and reference book entries, a brief and typically eccentric valedictory essay by Forrest j. Ackerman, two examples of Temple's fan writing, an early fanzine piece about the author by Arthur C. Clarke, and a brief note by the author's widow, joan Temple. The volume doses with a detailed index. Mike Ashley was Temple's friend, and this book is clearly something of a labor of love since, despite the author's very real talent, current critical interest in his work is limited. It is, in any case, a fine example of the bibliographer's art. William F. Temple never received his fair share of credit as a writer when he was alive. Per haps this volume will help to redress that grievance. Michael M. Levy Fury, David. Kings of the Jungle: An Illustrated Reference to "Tarzan" on Screen and Television. jefferson, North Carolina: McFarland & Co., 1994,256 pages, hardcover, $37.50, ISBN 089950-771-9. [Mcfarland & Co., Box 611, jefferson NC 28640] Gabe Fssoe's Tarzan of the Movies (1968) describes the eight silent films, thirty-two sound films (twelve of them with johnny Weismuller), one 'IV film and one 'IV series made between 1918 and 1968, and gives minimal information on several "unauthorized" Tarzan fJ.lms made in Italy, Russia, China and India. David Fury's Kings of the Jungle omits the "unauthorized" movies and adds four 28


SFRA Rewew#217, May/June 1995 films, including John Derek's unspeakable semi-porn Tarzan the Ape Man (1981) and Hugh Hudson's unheroic Greystoke: The Legend of Tarzan (1984), one 1V film and one 1V series the only Tarzan pro ductions in the twenty-six years since Essoe's book. Essoe provides more information than Fury on the deal-making behind the films; Fury has more data on the films themselves, including longer syn opses and more complete credits. Fury has synopses for each episode of both 1V series while Essoe does not Both books are we11-illustrated in black and white; Essoe has smaller but more numerous illustrations. Fury has a separate chapter for each film and a title and name index, making his book much easier to use for reference than Essoe's, which is unindexed and has less helpful chapter titles. Both authors judge the films solely in terms of their effective ness as juvenile adventures, fantasies of freedom and masculinity. They agree that W.S. Van Dyke's Tarzan the Ape Man (1932), Cedric Gibbons's Tarzan and His Mate (1934) (both with Weismuller), and John Guillermin's Tarzan's Greatest Adventure (1959) were by far the best fllms in the series. Both books discuss Edgar Rice Bur roughs's mainly unfavorable reactions to the films made up to his death in 1950, and Burrourgh's attempts to make a Tarzan film himself. Essoe writes that Weismuller blamed himself for the suicide of his ex-wife, actress Lupe Velez; Fury, a great fan ofWeismuller, does not even mention the suicide. Due to their different strengths, both Essoe and Fury should be consulted by anyone seriously studying the Tarzan films, but in this age of easy interlibrary loans, only large film collections need both books. Michael Klossner Harger-Grinling, Virginia and Tony Chadwick (Eds). RobbeGrillet and The Fantastic: A Collection of Essays (Contributions to the Study of Science Fiction and Fantasy, No. 59). Westport, Con necticut Greenwood Press, 1994, 169 pages, hardcover, $49.95, ISBN Q-313-28539-X. [Greenwood Press, Box 5007, Westport CT 06881-5007 or 1-800-225-5800 for credit card orders] The contributors of these seven analyses of Alain Robbe-Grillet the man, the author, and his \\Qrks are either ex-students or critics who have met him. Consequently, these reviewers reveal hostility, praise, or both while they discuss Robbe-Grillet's experimental sub-29


SFRA Reloiew#217, May/June 1995 version of traditional literary genres: his deconstruction, conversion, and integration of separate genres into new forms; his depiction of \\Qmen as victims or his racist and chauvinistic tendencies; his ironic sense of humor and trickery; and his possible autobiographical role in his novels and films. lbrough these studies, Harger-Grinling and Chadwick hope to bring a "better understanding of an aspect of the multifaceted nature of Alain Robbe-Grillet's \\Qrk which is frequently marginalized" The first essay, the editors' own "The Fantastic Robbe-Grillet", develops the concept that the author is a fantasist and that the "intended confusions" in his novels and fIlms show that "the real subject matter, that of a world of fantasy, illusion, and nightmare, has always been the central interest" in his work. Using Ie Mirror qui revient(1984), Ange1ique (1987), and Pour un nouveau roman (1963) as sources, these critics comment that Robbe-Grillet, the "leading theoretical exponent of the New Novel" in France, rejects the traditional literary elements such as plot, character, and reality, to focus instead upon following patterns of details, descriptions of things, or tropes providing new or extended meanings. Supporting examples from the author's works also illustrate the confusions, dis tortions, and doubts about reality that these writers believe is the author's way of revealing, through a fantasy world, the anxieties in our own everyday lives. The next article, "Fantasy, Metafiction, and Desire" by Ben Stoltzfus, presents, in detail, numerous classical and contemporary definitions of these three terms. He then illustrates how these terms are defining features of Robbe-Grillet's works. Stoltzfus also explores psychological, sado-erotic, violence/obsession, and woman as vam pire/victim themes. Fxamples illustrating metafiction depict how the novelist subverts a traditional form and blends in others. For in stance, Djinn (1981) mixes a detective story format with a fantasy and an international thriller. Other \\Qrks are blends of autobiogra phy, myth, history, fiction, or views of artists' paintings. Objects such as paintings become metaphors or stereotypes for images such as fear, sex, and violence, which thus become active parts of the novel. In turn, the metaphors elicit the reader's responses which again be come part of the reader's interpretation. Stoltzfus concludes that Robbe-Grillet's writing "casts desire, subversion, and fantasy as metaphorical actors on the stage of a metafictional discourse." 30


SFRA Rewew#217, May/June 1995 "Traces of the Trickster", by Ralph Yarrow, suggests that Robbe Grillet, the man, can be found only in the game player of his work. The author and text are the first two forms of playfulness that Yarrow wants to consider. The third, the reader, is generated from interaction of the first two which stimulates the ability of the reader to develop a critical mind. Through practice with the author/text game play, the reader's conscious mind learns the art trickery, of suspending its judgments long enough to exercise double vision and learn to question all established fact. Yarrow relates this form of subversive game play to classical as well as modernist and postmodernist movements. Thus Robbe-Grillet, through his role of the trickster, leads us to "change the way we think and behave." The next critique, "Staging the Elusive Self' by Thomas Spear, a former student of Robbe-Grillet's, is primarily a hostile appraisal. He briefly praises the "stylistic, creative, and imaginative genius of Robbe-Grillet the structuralist" or the acting ability of this man \'\ll0 can be entertaining. But Spear describes him as "the postmodern destructive autobiographer," and as one "who toys with a serious personal and pefemical engagement present in his romanesques." Further, using the title of one of Robbe-Grillet's films, L 'homme qui ment, Spear says, "After all, he is the 'Man who lies.' His film. .. perfectly describes the image we have of Robbe-Grillet." Other trenchant comments are aimed at the author for his portrayal of women and for his racism in L3. Jalousie (1957). "Fantastic Angelique", by Sjef Houppermans, considers the two volumes of romanesques, as part of the writer's autobiography. For him it illustrates how Robbe-Grillet subverts the genre by combining reality with fantasy. After a review of other writers' fantastic works, Houppermans explores the second volume of the texts, Angelique ou ]'enchantment (1987) to show how fantastic images, doubles, charac ters, and situations point to realistic parallels in Robbe-Grillet's own life and works. The next study, "Fluctuations of Fantasy: The Combinations and Subversion of literary Genres in Djinn", by Barbara Havercroft, dassifies the distinctive features of specific genres. Since one of the characteristics of the nouveau roman is to combine genres within a single text, Havercroft presents a dose reading of Djinn and identifies typical elements from detective, science fiction, spy, and romance 31


SFRA Re\-iew#217, May/June 1995 novels in Robbe-Grillet's book. Thus, the author has combined many genres into a new fonn which does not adhere to the boundaries for anyone category. The last paper, "Fragmented Representation", by Francois Jost, relates films to modem cinema, the so-called avant garde cinema. He provides examples to show how Robbe-Grillet's films are also subversive works which disregard the story/plot line continuity and logical relationships. The fragmented representations in the films are juxtapositions of sequences without any obvious story/plot or traditional cause-effect relationships. The spectator is forced to connect the scenes and to impose a meaning upon these diegetic fragments. This excellent, well-rounded and well-documented book should be in any library for graduate students, researchers, or individuals intending to teach or to expand their knowledge of Robbe-Grillet's novels and! or films. If this text had been published in the 1960s or 1970s when I was teaching the author's works in Contemporary World literature, it would have saved me hours of work inventing my own \\heels of interpretation. Betsy Harfst Hoppenstand, Gary. Clive Barker's Short Stories: Imagination as Metaphor in the Books of Blood and Other Works. Jefferson, North Carolina: Mcfarland & Co., October 1994, 223 pages, hardcover, $32.50, ISBN 0-89950-984-3. [McFarland & Co., Box 611, Jefferson NC 28640] These days it seems that Clive Barker is everywhere. His visage peers from recent covers of Cinefantastique and LocUS; interviews with him appear in Fangoria, Imagi-movies, Cinemagic, and almost every other genre magazine. With three fllms -Lord of illusions, Cand}man 2: FaI"5\el1 to the Flesh, and Hellraiser N: Blood.line -in various stages of release, an animated adaptation of his novel The Thief of Always (HarperCollins 1992) under development, a new novel, Evervi1le, (HarperCollins 1994) astride bookstore shelves, and a slew of comic adaptations and franchises in print or forthCOming, Barker dominates the fantastic in the '90s. And rightly so. He is a multi-media phenomenon \\hose talent embraces writing, painting, 32


SFRA Rewew#217, May/June 1995 filmmaking, and doubtless other forms as well. In his novels We.aVe1IDrld (Poseidon 1987), The Great and Secret Show (Harper & Row 1989), Imagica (HarperCollins 1994), and Everville, Barker has begun to merge horror, fantasy and myth in imaginative visions quite distinct from those of other late 20th-century practitioners. Prior to Hoppenstand's study, Barker has been the subject of one other book: Clive Barker'S Shadows in Eden (1991). Edited by Stephen Jones and published by Underwood/Miller, first in hardcover, then in trade paperback, this heavily illustrated volume is a cornucopia of essays, reviews, interviews, and brief sidebar com ments from Barker and others. Still, for all its unevenness and in herently chaotic form, Jones's collection provides more coherent in sights than does Hoppenstand's book. Hoppenstand's focus is the six-volume series of short-story col lections published as Clive Barker's Books of Blood These first ap peared in England from Sphere during 1984-5 and subsequently in the US, beginning in 1985 with a hardcover omnibus of the first of three volumes from Scream/Press, then in 1986 with the first of several paperbacks Berkley. Barker's extravagant, thematically unconventional, and often very gross stories earned critical kudos, became wildly popular, and got Barker mis-labelled as a "splatterpunk" horror writer. Subsequently, he has largely left the short-story form for (often very long) novels, and the horror mode for a melange of fantasy, monsters, and myth all his own. Hoppenstand begins with a long introductory chapter which, notwithstanding sketchy details of Barker's life and quotes from previously published interviews, seeks mainly to elevate Barker by demeaning Stephen King -an ill-advised strategy to which he will return in his concluding chapter. Further problematizing this intro duction is Hoppenstand's propensity for vague, often repetitive hype along the lines of "Clive Barker is the single most influential talent \\Qrking in fantasy film today" and ... Barker continues to persist in making \\Qnderfully imaginative, strikingly innovative movies. Only time will tell if audiences can catch up with Barker's pathfmding artistic vision ... Such fervid avowals of excellence (often unargued and unsupported) also litter the rest of the book, which consequently lacks critical balance -a clear awareness that, like most innovators, Barker sometimes stumbles. 33


SFRA Rewew#217, May/June 1995 After the introduction we come to the bulk of this book, six chapters devoted to Barker's two Books of Blood trilogies. Reading these, one soon notices that Hoppenstand's organizing principle is not any unifying critical perspective, but rather the table of contents of Barker's collections as originally published. Chapter by chapter he moves from the first to the sixth volume; in each chapter he consid ers each story in the order of its appearance in those Sphere paper backs. 1his structure makes analyzing (or even identifying) common themes, motifs, or stylistic techniques awkward for both Hoppen stand and his readers. Indeed, for an oeuvre as thematically and metaphorically rich as Barker's, almost any organizing principle \\Quld seem more likely to yield coherent insights than just plodding through the six volumes in sequence. 1his lack of coherence and control is mirrored at every level of the book. Hoppenstand's discussions of individual stories typically amount to little more than assorted observations on the story. Although he characterizes this book as "a cross between a reader's guide and a literary analysis, ... a supplement for those readers al ready familiar with Clive Barker's writings," he rarely tells us enough about plot or character or setting or whatever he's about to discuss for us to make sense of the discussion unless we've read the story very recently. At the sentence level, his prose is often so awkward that it distracts us from his line of thought Buried in this repetitive, disjointed book one can find nuggets of insight, but extracting them requires more effort than many readers may be willing to make. Only in the final chapter does Hoppenstand reorganize some of his material into a "Survey of Major Themes in Clive Barker's Short Fiction." Here we get a glimpse of the book this might have been. Although avowedly "neither indusive nor comprehensive," Hoppen stand's list of twelve themes and the ten pages in which he discusses them usefully surveys features of Barker's early work and begins to situate it within the tradition of the British fantastic. Alas, Hoppen stand soon returns to his contentious comparison of Barker and King which for all its dissembling strives mightily to portray the former as an innovative artist and the latter as a unregenerate hack. For Hoppenstand, King works "within the strict confines of the horror genre" where he "greatly empowers his readers and his publishers with the ability to determine the direction of his \\Qrk." (One \\Qn ders whether Hoppenstand has actually absorbed key critical \\Qrk 34


SFRA Rewew #217. May/ 1 995 on King by writers such as Douglas E. Winter and Tony Magistrale, whether he has followed the recent gyrations of King's fiction and its reception.) These reductive assessments of King's place in the fan tastic resemble Hoppenstand's comments on the weird tales of H.P. Lovecraft, the recent history of the American horror novel, SF during its gestation in the American pulps, and other topics -all of which strike me as misleading misreadings designed less to illuminate Barker's M>rk than to force it into some imagined pantheon of literary greatness. But none of this is necessary. Barker's work stands on its own, ample proof that he is an important force in the modern art of the fantastic whose M>rk deserves and M>uld reward extended critical attention -a project to which this book makes, I regret to say, a most disappointing start. -Michael A Morrison Joshi, S.T., Will Murray and David E. Schultz (Eds). The H.P. Lovecraft Dream Book. West Warwick, Rhode Island: Necro nomicon Press, 1994,42 pages, stapled booklet, $6.50, ISBN 0940884-45-8. [Necronomicon Press, PO Box 1304, West Warwick RI 02893] In his introduction, long-time Lovecraft scholar S.T. Joshi states, "It is a truism to say that almost every one of Lovecraft's stories was inspired by a dream, has a dream in it, or has the atmosphere of a dream even if it is purportedly set very much in the real world" (p. 5). A materialist, utterly skeptical about paranormal phenomena, Lovecraft was, as he tells one of his correspondents, "fascinated by fear as a subject for aesthetic treatment," though it is "an emotion whose poignant extremes I have never known in waking life!" (p. 42). As a writer of weird tales, Lovecraft looked to his dreaming life for atmosphere and sensory details. To provide insight into the primary source of Lovecraft's fic tional inspiration, this brief pamphlet quotes passages from Love craft's letters that either recount dreams or discuss the dream expe rience. These are accompanied by footnotes, which name stories in which details from the dream being related appeared, quote notes on dreams from Lovecraft's Commonplace Book, and identifY names and places. 35


SFRA Relliew#217, May/June 1995 Lovecraft's dreams are rich in sensory detail. As he tells one of his correspondents, "It gives one a sense of weird, fantastic, & unearthly experience to have seen these strange sights apparently with the visual eye" (p. 16). Conveyed in Lovecraft's adjectival, over-the top style, the dreams induded here exude cosmic fear and awe. Frequently, Lovecraft conveys a sense of eerie dislocation as the dreamer is thrust into a world utterly alien to anything he has known. Some fragmentary dreams consist simply of being in an othen\Urldly dty or a familiar place, hideously changed. Lovecraft's dreams are not only visually rich, but contain evocative names and phrases, some of which he subsequently incorporated in stories and poems. Lovecraft, for example, indudes "night-gaunts," terrifying monsters that peopled his dreams as a young child, in "The Dream Quest of Unknown Kadath" and "Fungi from Yuggoth". To his correspondents, Lovecraft speaks disparagingly of Freud, whose symbolism he dismisses as "puerile." Believing that the dreamer is transported to another reality, Lovecraft objected to Freud's insistence that dreams are rooted in everyday life. In several dreams, Lovecraft assumed a persona totally different from his own in name, physical appearance, time and culture. Lovecraft, for example, relates to Frank Belknap Long, a writer of weird fiction, a dream of being L Caelius Rufus, a provindal quaestor in an andent Roman province. With Lovecraft's blessing, Long made it the basis of his novel, The Horror of the Hills. Indeed, one of the most remarkable aspects of the letters in this compendium is Lovecraft's total lack of possessiveness about his dreams, even though he recounted them with care and considerable literary embellishment This volume is recommended for anyone with an interest in Lovecraft or in the relationship between dreams and literature. The narrations of dreams are enjoyable in their own right, and they shed light on the way in which Lovecraft mined his dreams for atmosphere, visual details, names, and odd turns of phrase. The letters induded here reveal a great deal, not only about Lovecraft's use of the dream experience in his tales of terror, but about the playfulness and generosity of his relationship with his friends. Wendy Bousfield 36


SFRA Rewew#217, May/June 1995 Lerner, Fred. A Bookman's Fantasy: How Science Fiction Became Respectable, and Other Essays. Framingham, Massachusetts: NffiFA Press, February 1995,97 pages, softcover, $11.95, ISBN 0-915368-65-X. [NFSFA Press, PO Box 809, Framingham MA 01701-0203] This interesting, although very slim, volume collects twenty-four essays by a librarian/bibliographer who is well-known in the SF field. Lerner is a long-time member of the SmA and a former editor of the SFRA Newsletter. His doctoral dissertation at Columbia Uni versity was on SF's changing reputation in America Obviously, his views of the field are worth reading, a fact attested to by the material in this book. The essays are divided into four sections, each with its own introduction. They span a broad range of material, from discussions of specific books and authors, through library science with a specific slant toward SF, into the joys of living in Vermont All are enjoyable reading. Lerner never hesitates to express an opinion, and his likes and dislikes are evident. From a passion for Silverlock and the science fiction of Kipling to a marked distaste for Heinlein's later works, the essays are short, to the point, and well \\Orth reading. WD.StEvens lloyd, Ann. The Films of Stephen King. New York: St. Martin's, 1993,96 pages, softcover, $14.95, ISBN 0-312-11274-2. This book doesn't claim to offer in-depth film analyses, detailed technical production information or box office records, or a comparison/ contrast of original and film that would help explain why so many of the films based on King's writing are ineffective. Instead, lloyd offers a few pages of color photographs (advertisements, publidty shots, and stills from the films), plot summaries, some production information, and anecdotes. lloyd's own writing is clear but cramped to fit around the visual design of the book. Overall, this is a pleasant scrapbook that may be valuable if you missed some of these productions, 1V episodes and short student films in particular. The 37


SFRA Rewew#217, May/June 1995 only really irritating thing about the book is that the back cover blurb claims coverage of The Stand and The Tommyknockers, re spectively one of the best and one of the worst King adaptations, when the text actually ends before those films were completed; on the other hand, even if lloyd had induded them, she might not have had much to say about them and certainly wouldn't have had much room to say it -Joe Sanders Stanley, John. John Stanley's Creature Features Movie Guide Strikes Again (4th Ed.). Creatures at Large Press, 1994,454 pages, hardcover, $50.00, ISBN 0-94006-410-3; softcover, $20.00, ISBN Q-94006-409-X. [Creatures at large Press, PO Box 687, 1082 Grand Teton Drive, Pacifica CA 94044] Reference books on fantastic films are numerous. Unfortunately, no one book has every film. Phil Hardy's Overlook Encydopedia of Film: Science Fiction and his Overlook Encydopedia of Film: Horror (both 1994) provide excellent, but not complete, coverage for those genres, but not for fantasy films. Walt Lee's Reference Guide to Fantastic Films (3 volumes, 1972-1974), Donald Willis's Horror and Science Fiction Films (3 volumes, 1972-1984), and Stanley's Creature Features each cover all three genres SF, horror and fantasy. Lee's set and Willis's first volume are more complete than Stanley's book for older, silent, and obscure films. Areas in which Stanley has sig nificant numbers of films not listed elsewhere are: fantasy films made since Willis's last volume (1984); 1V films; direct-to-video ti tles; and minor horror and SF sequels. Stanley also adequately cov ers major foreign films, induding recent Hong Kong, Japanese, Australian and European titles. With 5,614 titles covered in 454 pages, Stanley's annotations are only slightly longer (and no more sophisticated) than those in Leonard Maltin's annual Movie and Video Guide. His judgments are usually conventional and occasionally insightful. Most major films get no more space than minor titles. The only information provided consistently is date, nationality, director, and major actors; length is not given. Previous editions of the Guide appeared in 1981, 1984, and 1988. Stanley was a "Creature Feature" 1V host and has covered horror films and books for the San Frandsco Chronide for thirty-38


SFRA Re"';ew#217, 1995 three years. The paperback version is reasonably priced for those 000 need data on minor genre films. Michael Klossner Vaz, Mark Cotta and Shinji Hata. From Star Wars to Indiana jones: The Best of the Lucasfilm Archives. San Francisco: Chronicle Books, December 1994, vii + 208 pages, hardcover, $40.00, ISBN 0-8118-0997-8; softcover, $22.95, ISBN 0-8118-0972-2. The revenue from merchandise sold as a result of Star Wars (1977) far exceeded that from ticket sales. One spin-off was The Art ofSlarWars (1979), edited by Carol Titelman, soon followed by The Art of The Empire Strikes Back and The Art of Return of the jedi, all oversize Ballantine hardcovers. The shooting scripts were supplemented by hundreds of sketches, storyboards, production and matte paintings, and photographs. Now we have a work which is some\\hat similar but which surveys the films of George Lucas from THX-1138 (1971) to Tucker: The Man and His Dream (1988), although the almost exclusive emphasis is on the 1:\\0 trilogies. This is an American edition of a Japanese book and is based on the archives maintained by Lucas at the Industrial Light and Magic facility at Skywalker Ranch, north of San Frandsco. The Star Wars and Indiana jones trilogies were thick with spedal effects and generated an enonnous number of models, creatures, props, costumes, matte paintings, and other art work, so much that the archive has been housed in a large warehouse since 1991 and supervised by a curator. The book is a celebration and tour of this massive and growing archive, arranged in order of appearance of the films. Vaz is a writer for the prindpal journal of spedal effects, Cinefex, and Rata organized a Lucas exhibit in Japan (another ten-week exhibit in San Frandsco ended in March 1995). Most of the book consists of color photos of the artifacts, with dimensions shown in centimeters and brief explanatory text. Some objects are shown in sequence, from preliminary sketches through several prototypes to the final fonn as used in the films. Perhaps if I'd seen more of these films I might have found the tour of greater impact But I suspect not, for I think Jim Gunn's insight reflects my 39


SFRA RelAew#217, May/June 1995 feelings: "The problem with the sdence-fiction film is that it adds nothing to science fiction except concreteness of image -and this may be more of a drawback than an asset" If you want to see thou sands of images of varying degrees of concreteness, they're here in abundance. With special effects having undergone a sea of change, from artifacts like this to computer-generated images, the Lucas archive will interest the archaeologist of film and of course fans of the trilogies. But if you want to gain greater insight into why such films "\\Ork," you'll have to look elsewhere. -Neil Barron Wolf, Milton T. and Daryl F. Mallett (Eels). Imaginative Fu tures: Proceedings oithe 1993 Sdence Fiction Research Associa tion Conference. Reno, Nevada: SFRA Press, distributed by Borgo Press, 1994,364 pages, hardcover, $41.00, ISBN 0-913960-34-9; softcover, $31.00, ISBN 0-913960-35-7. [Spedal price for SFRA members: $21 hardcover, $11 softcover, to Borgo Press, Box 2845, San Bernardino CA 92406] Unlike the Eaton and IAFA conferences, most of whose proceed ings have been published, the papers presented at SFRA conferences have been assembled only twice before. The earlier example was the volume derived from the 1978 meeting, edited by Tom Remington and published by the University of Northern Iowa. The later exam ple was Science Fiction Dialogues, edited by Gary Wolfe and published by Academy Chicago in 1982. The 29 pieces here are grouped in four sections with pretentious titles like "Cybercerebralism and Hyperlearning." The papers as presented were given in largely random sequence and don't benefit from this eccentric grouping. A number of Artist Guest of Honor Rodney Marchetti's black and white drawings are reproduced, but the 5x8 inch trim size of the book drastically reduces their effective ness. The text is reproduced from right-justified typescript The editors are the first to admit that conference proceedings are "notoriously" uneven, just as they were in the flesh, as I can testify. Too many papers, some destined for later publication, were presented as \\ODden readings and aren't any more lively here, with many disfigured by the jargon favored by academics. Several are 40


SFRA RelAew#217, May/June 1995 decidedly peripheral to written SF. The briefer pieces by guest writ ers are a welcome relief from this heavy fare. A few of the interest ing papers I heard, such as that by Alan Elms on Cordwainer Smith, \\ffIl't collected here, nor were any panels transcribed. If you attended this 24th SFRA conference, you might want this as a memento (if your paper is included, you've received a complimentary copy). An alternative is a tw:>-hour videotape of many of the conference's main speakers, induding artist Marchetti, available for $25 from Milton Wolf, University Ubrary/322, University of Nevada Reno, Reno NY 89557-()()44. The proceeds from both tape and this book (above cost) will go to the SFRA, which might serve as incentive to acquire a copy. libraries can skip. -Neil Barron 41


SFRA Re\iew#217, May/June 1995 42


SFRA RelAew#217. May/June 1995 FICTION REVIEWS Baxter, Stephen. Anti-Ice. New York: HarperPrism, 1994, 289 pages, softcover, $5.50, ISBN 0{)6-105421-6. When early 19th-centwy British explorers discover a meteorite of anti-ice frozen anti-matter that reacts only when thawed -in Antarctica, events take a jog away from the history we know. Charles Dickens, for one minor example, is virtually unknown in England; he emigrated to America when his native readers were put off by his harping on social issues rather than telling straightforward, positive-thinking tales. For England is smugly content with itself. After all, it has Power to do anything it wishes. For a time, the English remain tom between idealism and selfishness, but this cannot last. In 1870, as described in Baxter's novel, a callow but goodhearted diplomat witnesses a terrorist hijacking of an enormous ice powered landschooner but then is trapped during another hijacking alx>ard a flying vessel headed out of control toward the moon! Ob serving these and other fantastic events, the narrator of Anti-Ice begins to realize how damnable good-natured naivete can be. Pseudo-Victorian SF is fashionable nowadays, and Baxter does a fine job of emulating period prose style without becoming stodgy. The book is a fun read. The more one thinks of it, though, the more it transforms like a werewolf in moonlight -more fur, longer fangs. Beginning with the prologue that shows an anti-ice bomb raising a mushroom doud above Sevastapol, readers are aware that within the spoof Baxter is writing about more than people in another time in a foreign land It's us. Here. Now. Recommended. -Joe Sanders Bell, Clare. The Jaguar Princess. New York: Tor, 1993,443 pages, hardcover, $23.95; 1994,443 pages, softcover, $4.99, ISBN 0812-51516-1. An interesting alternative-universe based on Aztec culture, The Jaguar Princess is also a coming-of-age story of a young female shape-changer named Mixcatl. Her story begins when she is trans ported at the age of six to Tenochtitlan, the Aztec capital dty, but her 43


SFRA Re\oiew#217, May/June 1995 internal dialogue informs the reader that she was first captured and sold as a slave at age three. She is destined to spend many years in the dty, first as the lowest-level house slave in a scribe's school, then as a scribe when her talents are acddentally discovered, and finally as a figure of power and terror when her first shape-changing takes place and she comes into her other Bell is an experienced writer. Her narrative is well-organized with a clearly-defined plot. The third-person perspective describes events as experienced by both Mixcatl and Wise Coyote, the leader of Texcoco, a weaker, neighboring state. Wise Coyote is searching for someone like Mixcatl and eventually finds her -just in time to prevent her sacrifice. Their fates become entwined, much to Mixcatl's distress; she would prefer to be just a talented artist rather than a fearful creature, changing from human to jaguar in response to threats against herself or those she loves. As he discovers Mixcatl, Wise Coyote also uncovers her heritage as part of a far-off jungle tribe of shape-changers. She does not want to accept his plan to have her power reinforce his creation of an alternative religion to that of Aztec sun \\Orship. He cruelly manipulates her, his own son, and others, yet his motives are laudable: he wants to protect his CM'Il country and perhaps the Aztec nation from the bloodbath that Aztec religion has come to demand under the aging ruler Hue Hue ll huicamina. Within the context of this novel, he achieves some suc cess, but only at great cost to himself and many others. Both for the informed articulation of an interesting and re search-based setting in pre-historiC central Mexico, and for a portrait of statecraft that acknowledges its complexity and its personal burden for those who must practice it, this book is worth reading. A convindng blend of fantastic and realistic history, it is varied enough to hold a reader's attention and even to encourage the further explo ration of Aztec culture. Janice M Bogstad Ford, John M. Growing Up Weightless. New York: Bantam Spectra, August 1994, 261 pages, softcover, $4.99, ISBN 0-553-5681>. Originally published in 1993, John M. Ford's Growing Up Weightless, a Nebula nominee, is a richly developed rite of passage 44



SFRA Rewew #217 May/June 1 995 pending disbelief that the IMf would work at all, much less work only through the loss of human life. It functions best symbolically as a metaphor for modern technocapitalism -the hard reality that much of our comfort and intellectual freedom comes at an increas ingly higher price. Sandra lindow Furey, Maggie. A urian. New York: Bantam, 1994,599 pages, soft cover, $5.99, ISBN 0-553-56525-7. Furey, Maggie. Harp of Winds. New York: Bantam, 1995,441 pages, softcover, $5.99, ISBN 0-553-56526-5. like Tolkien's Lord of the Rings, Maggie Furey's books Aurian and Harp of Winds form part of a larger continuous story. AI.1rian is the initiation story of a young mage, Aurian, who grows into adulthood and control of her powers. She is also initiated into love and an awareness of the corrupting influences of power. She fears for her safety, for that of her unborn child, and for that of her servant/ friend, Anvar. In the course of the story she thwarts the evil power wielded by the Archmage, and, before escaping to the southern con tinent, decides to defeat him and his PO\\ff in the future. During her flight, Aurian becomes separated from Anvar and learns that if she can gather three andent artifacts, she can oppose the Archmage's corrupt power, which stems from a fourth artifact. Aurian rescues Anvar from slavery and travels northward in search of the artifacts and a safe place to bear her child. She recreates the Staff of Earth, is assured that she is destined to wield another artificat, the SM>rd of Flame, and discovers that Anvar is half mortal/half mage. As the stories unfold, various people takes sides in preparation for the final battle. By the end of Harp of Winds, Aurian has obtained the Staff of Earth and Anvar has obtained the Harp of Winds, leaving only the Sword of Flame to be found in order to defeat the evil Archmage. Obviously, another book is necessary to complete the story. A new writer in the fantasy arena, Maggie Furey has made a remarkably strong entrance. Sheny Stoskopf 46


SFRA Rewew#217, May/.Ame 1995 James, Del. The Language of Fear. New York: DellI Abyss, February 1995,339 pages, softcover, $5.50, ISBN Q-440-21712-1. The Language of Fear is a collection of fifteen short horror/dark fantasy stories representing the debut of writer and occasional rock lyridst Del james. It also includes an introduction written by james's friend Ax! Rose, of the rock group Guns N' Roses, MlO claims that Del james is "an avid horror fan" who "likes to confront taboo issues," and hence has "more of an understanding of \\hat young horror fans enjoy and want" The Language of Fear is thus part of a burgeoning sub-genre of dark fantasy that might best be called "rock n' roll hor ror," nicknamed "shock rock," and apparently marketed for younger readers. I suppose that the origins of this curious sub-genre of fantasy arguably are traceable back to Bobby "Boris" Pickett's silly song, "Monster Mash," though singers and groups such as Black Sabbath, Alice Cooper, and Blue Oyster Cult certainly lent a certain menace to the genre in the early '70s. Two novels from 1988, David j. Schow's The Kill Riff and Skipp and Specter's The Scream pioneered the rock n' roll horror novel, an artistic cul-de-sac few have followed. More recently, two collections of stories edited by jeff Gelb, Shock Rock (1992) and Shock Rock II (1994), suggest that the sub-genre is ex ploitable. Moreover, the 1994 dark fantasy film The Crow, starring the late Brandon Lee, not only featured a rock singer as its protagonist and a rock music-laden soundtrack, but it represented a triumph of the MIV aesthetic in the film fonn. Stylistically, Del james's stories are crude ("Drool pittered out of the comer of his thick lips as he crumpled jell-O-like onto the couch") and are often set amid the ugliness of urban life, from a tat too parlor in Watts ("Skin Deep"), to the squalor of a junkie's flat in San Francisco ("A Tale of Two Heroines"), to a rock n' roll star's trashed apartment ("Without You"). james's emphasis on ugliness and squalor and his characters' penchant for self-destruction is apparently not intended to be celebratory but rather cathartic; Rose says in the introduction, "These stories tap into the self-destructive side of things that have actually helped me not be self-destructive." The stories would seem to serve as victories, if only temporary, over the real demons that threaten the imaginations of james, Rose, and 47


SFRA RetAew #217 May/June 1 995 the book's putative young readers: drugs, vice, poverty, urban vio lence, and the spiritual emptiness of modern existence. It's difficult for me to get a handle on the stories, though. The characters are often one-dimensional, the plots banal, the stories cliche-ridden. Yet I cannot entirely dismiss the book, due to an earnestness in the storytelling and an aspect that suggests the stories emerged from James's own terrible experiences on the streets of LA. "Without You," the ultimate rock star self-destructive fantasy, is perhaps the best story in the collection because the protagonist's psy chology is so dearly developed. Other stories fall in the DC Comics vein, and despite their contemporary trappings, fail to transcend that genre. -Samuel1. Umland louvish, Simon. The Resurrections. New York: Four Walls Eight Windows, September 1994, 215 pages, hardcover, $18.95, ISBN 1-56858-014-2. This novel is an alternate history set primarily in the period 1967-1971, with flashbacks to 1961 and an epilogue set in 1990. That period is no less turbulent in this other time stream than in ours. There are two main premises. The first is that Communists Rosa Luxembourg and Karl Liebnicht do not die in the ovil unrest in Gennany following World War I. Instead they live to lead a sodalist revolution there in 1923. The second premise is that Leon Trotsky wins the power struggle with Joseph Stalin in the Soviet Union at about the same time. Most changes in 20th century history are a re sult of the first event; the most important is that Adolf Hitler, Joseph Goebbels, and other early Nazi party leaders flee Gennany and settle in the United States. Hitler becomes a US Senator and founds a third political party. He also fathers t\\O sons, both of whom become candidates for the US Presidency. There is no European war in the middle of the century. One result is that Great Britain, France, and Italy are still trying to hold on to their colonial empires as late as 1967. In 1952, the Japanese drop an atomic bomb on Los Angeles. Unfortunately, the author does not relate the specific events leading up to this action; presumably, they parallel the events leading up to the bombing of Pearl Harbor. Lou-48


SFRA Rewew#217, May/June 1995 vish is also brief about the course of that war, except that the US drops an A-bomb on Tokyo and one of Hitler's sons is a war hero. There are five major point-of-view characters and at least seven minor ones. Several of them were major historical figures in our CMn time stream: Che Guevara, Joseph Goebbels (Americanized to Joseph Gable), Adolf Hitler, and Herbert Marcuse. I had a hard time distin guishing three of the major non-historical characters -I suspect there \\ffe too many characters for a novel of such short length. The book is engaging and thought-provoking, although it is not up to the level of The Man in the High Castle by Philip K. Dick. -TomFe1ler McDonald, Ian. Terminal Cafe. New York: Bantam Spectra, November 1994, 277 pages, softcover, $12.95, ISBN 0-553-37416-8. Ian McDonald is one of those authors whose new books always get put on the top of my pile for immediate reading. The man is a superb stylist and his novels are invariably full of interesting con cepts, fascinating societies, and bizarre inventions, and Tenninal Cafe is no exception. This complex novel is set in a Hispanic-dominated future Los Angeles which has been radically transformed by nanotechnology. In McDonald's world, those who can afford it can have virtually anything they want. The human body has become almost infinitely malleable: if you want wings, you can have wings; if you want to be able to work in space without a spacesuit, that too is pos sible. The most startling change in society, however, involves the development by the Tesler-Thanos corporation of nanotechnology that makes possible the resurrection of the dead This resurrection, however, comes with strings attached. Under law, the dead have few legal rights. Unless they have provided for themselves with a special insurance policy, they emerge from the sus tank Owning nothing, at best a permanent underclass, at worst indentured slaves. As the number of the resurrected has increased over the years and they have begun to constitute a significant por tion of the Earth's population, tensions have mounted as well. large numbers of the dead have been shipped off-planet as slave labor, frequently after having undergone massive nano-controlled alter-49



SFRA Relliew#217, May/June 1995 Resnick, Mike. A Mirade of Rare Design. New York: Tor, December 1994,255 pages, hardcover, $21.95, ISBN 0-312-8548%. Back in the 1970s one of the science fiction magazines, Galaxy perhaps, ran an advertisement containing a short action scene which was ostensibly set on an alien planet, but which was obviously nothing more than a transplanted scene from a Western. Their point was that such a technique is bogus, and you \\Uuldn't find it used in their magazine. Their alien \\Urlds were going to be truly alien, by gosh! Many writers have done this kind of genre and locale blend ing, however, often with considerable success, and one of the most successful practitioners of this technique is Mike Resnick. In his novels, Paradise (1989), Inferno (1993), and Pwgato1}'(1993), all subtitled A Chronicle of a Distant World, Resnick took three East African nations and retold their histories as science fiction, with the natives of Kenya and Rhodesia recast as aliens living on distant \\Urlds, with human colonial masters very similar to their historical counterparts here on Earth. Although occasionally criticized for their lack of strong central characters and for their tendency to see the human colonists with more sympathy than is generally deemed po litically correct, these novels did a good job of portraying the diffi cult, often painful transformation of nations undergoing rapid mod ernization and decolonization. In his most recent novel, A Mirade of Rare Design, Resnick takes on Saudi Arabia, transformed here into the planet Grotomana and in habited by an alien spedes known to humanity as the Fireflies. This book differs from Paradise and the others mentioned, however, in its use of a strong protagonist, one Xavier William Lennox, adventurer and bestselling author extraordinaire. Readers versed in the history of the British presence in the Middle East during the nineteenth century will quickly recognize Lennox as an updated version of the explorer and author Richard Francis Burton, and indeed, the first section of Resnick's novel basically translates into a science fictional frame\\Urk Burton's famous and nearly fatal attempt to sneak into the forbidden dty of Mecca Having barely escaped with his life and having been severely maimed in the process, Lennox is recruited by the Department of Alien Affairs to return to Grotomana after undergoing radical surgery that essentially turns him into a Firefly. His mission is to 51


SFRA May/June 1995 convince the leaders of the planet's ruling theocracy, who are directly responsible for Lennox's maiming, to grant the Republic of Man a variety of mineral rights. The alternative is invasion and the possible extennination of the Fireflies. Although the government of Earth is clearly corrupt, the Fireflies have been portrayed so nega tively that it's hard for us to feel badly about human imperialism on their \\Odd lennox's adventures on Grotomana take up the first three-fifths of A Miracle of Rare Design. After returning from the Fireflies' world, however, Lennox undergoes a series of operations, each of which turns him into a representative of yet another alien species so that he may act as a secret agent on a new planet. lennox becomes more and more alienated from his own humanity after each trans formation and eventually reaches a point where he can no longer be seen and no longer sees himself as a human being. The later adventures in this oddly constructed novel are little more than sketches, however. I can't help wondering if Resnick's original intent was to write a novella which, growing to a difficult-to-publish length, ne cessitated the addition of a much weaker one hundred pages at the end, so the book could be marketed as a novel. There's a fair amount of inventiveness here, but A Miracle of Rare Design is not Mike Res nick at his best Michael M. Levy Resnick, Mike, Martin H. Greenberg and Loren D. Estleman (Eds). Deals with the Devil. New York: DAW, 1994,362 pages, softcover, $5.99, ISBN 0-88677-623-6. The editors of Deals with the Devil did an outstanding job of putting together 32 original stories for this collection, which focuses on the immortal theme of traffic in souls. Some of the stories by pros, such as Jack C. Haldeman ll's "A later Date", are funny, ironic, and classic in their execution. Anyone who has haunted the aca demic halls too long will laugh hollowly and make a graveyard whistle at this one. Michelle Sagara's "Winter" is a very different story, dark and compellingly written for the '90s, yet at the same time resonating back a hundred years, written almost in the tradition of, and perhaps 52


SFRA RelAew#217, May/.kme 1995 as a tribute to, Oscar Wilde's theme of love that dare not speak its name, that would rather serve itself in hell. Several other stories deserve mention: Jack Dann's "Discounts" is about nothing less than what holds the world together and what happens if it stops. Mike Resnick's "Stanley the Eighteen-Percenter" makes those of us with literary aspirations wish that Mike had induded Stanley's business card in the story. "Confessional", by laura Resnick, has a rich patina of Catholic guilt and repressions, overlain upon a deprived woman's rapadous lust for a young soldier serving in the American occupation of Italy during World War ll. Brian M. Thomsen's "Nobody Wins in a Deal with the Devil" is a nice little nugget about a long neglected father and son relationship, while Thomas Sullivan's "To Walk the Earth", on the other hand, is one of the coldest, blackest, most twisted stories I have ever read. Some how he makes me think of Charles de lint in the way he portrays the forsaken desolation of damnation. The stories I have chosen to describe are not necessarily the best in the collection, but they are representative of the overall quality of its contents. I think this anthology is quite useful in that it can be thought of as an access point to the works of several unfamiliar or new writers. I hope it appears in a hardbound library edition, be cause I feel its contents will stand up well. -Philip Kaveny Yolen, Jane (Ed). Xanadu 3. New York: Tor, 1995,319 pages, hardcover, $21.95, ISBN 0-312-85898-1. Called "America's Hans Christian Andersen" and "the Aesop of the twentieth century," writer/editor Jane Yolen has an ear for sto ries. An accomplished storyteller herself, she captures her audience with literally breathtaking deftness based on her nearly unerring sense of those archetypal images that affect us most powerfully. Xanadu 1 and 2 were highly regarded showcases for previously un published short works of fantasy. In Xanadu 3, Yolen offers us 35 new works of fantasy, each, like Coleridge's Xanadu, a brief but richly developed vision of other, stranger realities. 53


SFRA Re\-iew#217. May/June 1995 Some, like Richard Rowand's "Residual Hight", answer questions we've always wished answered; in this case "What happens to all the teeth the tooth fairy collects?" Others are redactions, modern versions of older tales as in Claire Parman Brown's powerful retelling of "East of the Sun, West of the Moon". Most reflect a certain feisty feminism as in Michelle Stone's "lizard QJ,leen". All have a subtlety of voice, revealing that which is most chilling about human interac tion without losing that which is most humane and compassionate. Certainly the juxtaposition of the t\\O Golem stories, Bruce Holland Rogers's "The Apple Golem" and linda Mannheim's "Clay", tell the Golem story in equally effective but radically different ways. The stories and poems range from traditional folk and fairy tales to contemporary fantasy and magical realism. Jeanette Ingold's "Word Drift" is a slipstreamy science fiction story about a virus that causes a rather peculiar neurological dysfunction with satisfyingly serendipitous results. Plotting ranges from the straight-forward to the metafictional, as in Nancy Kilpatrick's delightful "Your Essential Un sung Hero". The diverse cultural backgrounds represented range from Quibbean Voodoo in the Terns' unsettling love story, "Nvumbi", to Josepha Sherman's retelling of a Paiute creation myth in "Old Woman Who Created life". The authors range from the very well-known to the relatively new. Established writers such as Jo Clayton, Tanith Lee, Nancy Etchemendy, and Terri Windling are in their usual excellent form. Most intriguing, however, are the "might have been" fantasies, such as Susan Palwick's "Jo's Hair". When Louisa May Alcott's Jo (little Women) cuts and sells her beautiful hair to save her father's life, the hair has the adventurous life that Jo always wanted but was never able to have. Another alternate reality is Astrid Julian's "The Hunter and the Stag", wherein a believably alcoholic Ernest Hemingway is follo\\OO across continents and oceans by a hallucinatory white stag. The poetry is equally as fine as the stories. Poems like Ruth Berman's charming "Recent Collections", Laurie Taylor's powerful "Fortune Tellers", and Yolen's "Swan/Princess" are representative of the best in genre poetry. To say that the book is politically correct may be damning with faint praise these days; however, one of Yo len's strengths as an editor is her ability to recognize those stories that will have the most 54


SFRA Rewew #217. May/ .lme 1 995 impact on our lives, those stories that teach and heal as well as en tertain. Xanadu 3 does this admirably. Highly recommended. Sandra UndCYw Zahn, TlIDOthy. Conquerors' Pride. New York: Bantam, 1994,389 pages, softcover, $5.99, ISBN 0-553-56892-2. Fresh from his Star Wars trilogy, Timothy Zahn launches a new series of novels about an interstellar Commonwealth whose Peace keeping task force is suddenly attacked and destroyed by a mysteri ous race that seems to be the Conquerors of an andent alien legend. After determining that his son, Pheylan, might have survived the attack, lord Stewart Cavanaugh, businessman and fonner member of Parliament, launches an investigation into the attack and backs a rescue mission headed by his other son, Aric, and Adam QJ.tinn, who is retired from the Copperheads, an elite unit of fighter pilots mindlinked to their machines. The story quickly splits into several plotlines. One follows Lord Cavanaugh's inquiry into rumors about the invaders, and his associa tion with an alien named Fibbit whose "threading," or portrait, of a mysterious human leads to important information about CIRCE, the devastating superweapon that is the Commonwealth's best hope against the Conquerors. Meanwhile, Cavanaugh's daughter, Melinda, who is a physidan, gathers supplies for the rescue mission; she is eventually stranded on a world under alien attack while Aric and Quinn search for Pheylan with a recruited a squad of Copperheads. By far the most intriguing plotline, however, is that of Pheylan in captivity as he attempts to communicate with, outwit, and escape from his captors, the Zhirrzh. His prisoner-of-war status is complicated by the fact that his is the first contact with a completely alien culture, and his perceptions of the aliens' perceptions of him are suspenseful, entertaining, and revealing of the aliens' point of view. Zahn's story is almost too fast-paced, for he never stays with one set of characters for long, but he also packs the plot with political and military intrigue and information about the intricate cultures of sev eral richly-drawn alien spedes. His characters, especially Pheylan, are believable and interesting to know. But the novel turns out to be 55


SFRA RelAew #217. May/ "'me 1 995 only the first installment in a series set in this particular universe. Just as the reader begins to sort out the players and realize the moti vations that underlie the shifting alliances, the story stops, practi cally in mid-plot. Thus the novel, though whetting the appetite for the sequel (Conquerors' Heritage, due in the summer of 1995), lacks dosure. However, there is much imagination and energy here; fans of Zahn and fans of hard SF on a galactic scale will want to start this new series. Agatha Taonnina 56


SFRA Rel.4ew#217, MaY/Aine 1995 THE SCIENCE FICTION RESEARCH ASSOCIATION The SFRA is the oldest professional organization for the study of science fiction, fantasy, and horror/Gothic literature and film, as well as utopian studies. Founded in 1970, the SFRA was organized to improve classroom teaching, encourage and assist scholarship, and evaluate and plblicize new books and magazines dealing with fantastic literature and film. Among the membership are people from many countries authors, editors, publishers, librarians, students, teachers, and other interested readers. Aca demic affiliation is not a requirement for membership. SFRA BENEFITS INCLUDE: Extrapolation. Quarterly magazine; the oldest journal in the field, with critical, his torical, and bibliographical articles, book reviews, letters, occasional special topic issues, and amual index. Science-Fiction Studies. Trimesterly magazine; includes critical, historical, and bib liographical articles, review articles, reviews, notes, letters, international coverage, and annual index. SFRA Review. Bimonthly magazine; an organ of the SFRA, this magazine includes ex tensive book reviews of both nonfiction and fiction, review articles, listings of new and forthcoming books, letters, SFRA internal affairs, calls for papers, works in prog-ess, and amual index. SFRA Directory. Annual directory; lists members' names and addresses, phone num bers, and special interests. Foundation. (For an additional fee -see next page). Trimesterly magazine; discount on subscription price; includes critical, historical, and bibliographical articles, reviews, letters. AS A MEMBER YOU ARE ALSO INVITED TO: Attend our anrual meetings, held in a different location each year. Members and guests many of them professional writers present papers, share information, and discuss common interests, all in a relaxed, informal environment. Much of the significant scholarly literature, available at discounted prices, is displayed. The Pilgrim and Pioneer Awards for distinguished contributions to SF or fantasy scholarship are presented at a dnner meeting. Participate in the Association's activities. Vote in elections, serve on committees, and hold office. Join the SFRA section on GEnie, where the SFRT (SF Round Table) has a private category where SFRA members meet in "cyberspace" to conduct business, exchange infor mation, or enjoy real-time discussions. Contribute to the "Support a Scholar" program. SFRA members help needy young scholars here and overseas continue their study of SFIF. [Anrual membership dues cover only the actual costs of providing benefits to members, and reflect a modest savings over subscriptions to the publications listed above. Your dues may be a tax deductible expense. See next page for application and dues informa tion.] 57


SFRA Relofew#217, May/June 1995 SFRA MEMBERSHIP APPLICATION Please mail this completed form with your check for dues, payable to SFRA, in U.S. dollars only please, to: Robert J. Ewald, SFRA Treasurer, 552 W. Uncoln Street, Findlay, OH 45840. Il.Jes: US.A CanD Qierseas Individual 1 $60 $65 $70 Joint2 $70 $75 $80 Student3 $50 $55 $60 Institution4 $80 $80 $80 Emeritus 5 $30 $35 $40 If you wish to receive the British journal Foundation (3 issues per year), add $17 ($20 for airmail). 1 aU standard tisted benefits 2 two members in the same household; two listings in the Directory, but will receive one set of jOlJTl3Is 3 category may be used for a rnaximll1l of five years 4 all privileges except voting 5 receives SFRA Review and Directory This membership application is for the calendar year 1995. This information will appear in the 1995 SFRA Directory. Nome: Mailing Address: Business Phone: Fax number. E-mail Address: My principal interests in fantastic literature are (limit to 30 words): Repeat last year's entIy : 58


SFRA Re";ew#217, May/June 1995 1995 smA Annual: Conference RoJistl'ation :Form June 22-25, 1995 Grand Forks, North Dakota NAME: ADDRESS: PHONE: CONFERENCE FEE: $105.00 until May 1, 1995 $115 until June 21, 1995 $125 at the door [] Conference fee Amount enclosed Saturday night Banquet menu included in registration fee: baked potato, vegetable, rolls, tossed salad, beverage, dessert and choice of entree: [ ] 8 oz Sirloin Steak [ ] Walleye Pike [ ] Chicken Cordon Bleu [ ] Buffalo Burger with mushroom gravy [] Riverboat Cruise: for $25.50 includes a two hour Riverboat dinner cruise on Friday night of the conference (cruise and meal including choice of entrees, dessert, drink, tax and tip): [ ] Prime Rib [ ] Broiled Chicken [ ] Top Sirloin Steak [ ] Baked Salmal [ ] Grilled Hamburgers Amount enclosed TOTAL ENCLOSED o-.ecks shoUd be made out to: 1995 SFRA Conference OVER59


SFRA Re"';ew#217, May/June 1995 Please check the following for more information: [] Please send program participant information. [] I am planning on attending the Atmospherium show at the con ference. [] Please send reservation information for: [] Swanson Hall [] Holiday Inn [] Select Inn [] Handicawed services: ___________ [] I am planning on driving to the conference or renting a car; please send a parking permit for the University of North Dakota campus. [] Please send information about joining the SFRA. 60 MAIL THIS FORM WITH CONFERENCE FEE TO: B. Diane Miller 1402 4th Avenue North Grand Forks, NO 58203-3145 Phone: (701) 775-5038 E-mail: Internet: ud068741 or GEnie: d.miller14


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