SFRA newsletter

SFRA newsletter

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

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Source Institution:
University of South Florida Library
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University of South Florida
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All applicable rights reserved by the source institution and holding location.
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S67-00080-n190-1991-09 ( USFLDC DOI )
s67.80 ( USFLDC Handle )

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Science Fiction Research Association newsletter
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Past Presidents of SFRA Thomas D. Clareson Arthur o. Lewis, Jr. Joe De Bolt James Gunn Patricia S. Warrick Donald M. Hassler William H. Hardesty Elizabeth Anne Hull Past Editors of the Newsletter Fred Lerner Beverly Friend Roald Tweet Elizabeth Anne Hull Richard W. Miller Robert A. Collins Pilgrim Award Winners J. O. Bailey Marjorie Hope Nicolson julius Kagarlitski jack Williamson I. F. Clarke Damon Knight james Gunn Thomas D. Clareson Brian W. Aldiss Darko Suvin Peter Nicholls Sam Moskowitz Neil Barron H. Bruce Franklin Everett Bleiler Samuel R. Delany George Slusser Gary K. Wolfe Joanna Russ Ursula K. Le Guin Marshall Tymn Pierre Versins Veronica Hollinger H. Bruce Franklin Pioneer Award (1970-76) (1977-78) (1979-80) (1981-82) (1983-84) (1985-86) (1987-89) (1989-90) (1971-74) (1974-78) (1978-81) (1981-84) (1984-87) (1987-89) (1970) (1971 ) (1972) (1973) (1974) (1975) (1976) (1977) (1978) (1979) (1980) (1981 ) (1982) (1983) (1984) (1985) (1986) (1987) (1988) (1989) (1990) (1991 ) (1990) (1991 )


The SFRA Newsletter Published ten times a year for the Science Fiction Research Association by Alan Newcomer, Hypatia Press, Eugene, Oregon. Copyright 1991 by the SFRA. Editorial correspondence: Betsy Harfst, Editor, SFRA Newsletter, 2357 E. Calypso, Mesa, AZ 85204. Send changes of address and/or inquiries concerning subscriptions to the Treasurer, listed below. Note to Publishers: Please send fiction books for review to: Robert Collins, Dept. of English, Florida Atlantic University, Boca Raton, FL 33431-7588. Send non-fiction books for review to Neil Barron, 1149 Lime Place, Vista, CA 92083. Juvenile-Young Adult books for review to Muriel Becker, 60 Crane Street, Caldwell, NJ 07006. SFRA EXECUTIVE COMMITTEE President Peter Lowentrout, Dept. of Religious Studies California State University, Long Beach, CA 90840 Vice-President Muriel Becker, English Department Montclair State College, Upper Montclair, NJ 07043 Secretary David G. Mead, English Department Corpus Christi State University, Corpus Christi, Texas 78412 Treasurer Edra Bogle Department of English University of North Texas, Denton, TX 76203-3827 Immediate Past President Elizabeth Anne Hull, Liberal Arts Division William Rainey Harper College, Palatine, Illinois 60067


SFRA Newsletter #189 July-Aug 1991 In This Issue: President's Message (Lowentrout) .................................................. .4 23rd Annual SFRA Conference (Lehman) ........................................ 6 22nd Annual SFRA Conference Pictures (Hull) ............................... 6 Recent & Forthcoming Books (Barron) ............................................ 9 World SF Meets in China (Hull) .................................................... 11 News & Information (Barron ........................................................ 15 Campbell & Sturgeon Awards (Gunn) ........................................... 20 The Shape of Films to Come (Krulik) ............................................. 21 SFRA Market Survey (Barron) ........................................................ 23 Editorial Matters (Harfst) ............................................................... 33 Non-Fiction: Amano, The Art of Yoshitaka Amano: Hiten. (Stevens) ................. 34 Boos, Design/Morris's l'The Earthly Paradise l (MacDonald) ......... 35 Cederstrom, Jungian Patterns in Lessing (Wall) ............................. 36 Clark, Lewis Carroll (Collins) ........................................................ 38 DeLamotte, Perils of the Night: Study of Gothic (Sanders) ............ 39 Everson, Classics of the Horror Film (Dziemianowicz). ................ .41 Garnett & Ell is, eds. SF: Critical Approaches (Bartter) .................. .42 Jones & Goodwin, eds. Feminism, Utopia, & Narrative (Bartter) ............................... .44 Lacey, New Arthurian Encyclopedia (Williams) ........................... .45 Mancoff, The Arthurian Revival in Victorian Art (Albert) ............. .46 Matthews, The Authurian Book of Days (Thompson) ................... .47 Monleon, Specter Haunting Europe (Albert) ................................ .49 Pearson & Uricchio, The Many Lives of the Batman (Latham) ............................... 50 Penley, et ai, Film, Feminism & SF (Hollinger) .............................. 51 Powers, et ai, Handbook of Japanese Popular Culture (Barron) ................. 53 Shelley, The Mary Shelley Reader (Pfeiffer) ................................... 54 Skerl & L ydenberg, Wm. S. Burroughs at the Front (Morrison) ............................ 56 Smith, Poe in the Media (Taormina). ...... ...................................... 58


SFRA Newsletter, 190, September 1991 3 Stephens, SF&F Paperback and Joyce & Stephens Checklist of Kim Stanley Robinson (Barron) ......................... 59 Stinson, Anthony Burgess Revisited (Ruddick) .............................. 60 Van Hise, ed.5tar Trek, Dark Shadows, Lost in Space, Trek Crew Book (Albert) ............................................................... 61 Waugh, The Comics (Albert) ......................................................... 63 Fiction: Anderson & Beason, Lifeline (Werbaneth) '" ................................. 64 Anthony, Phase Doubt (Collings) .................................................. 65 Arnason, A Woman of the Iron People (Sanders) .......................... 65 Curry & Dean, Winter Scream (Mallett) ........................................ 66 David, Vendetta (Mallett) .............................................................. 67 DeChancie, Castle War! (Osborn) ................................................ 68 Eddings, The Ruby Knight (Hitt) .................................................... 69 Edgerton, Goblin Moon (Strain) .................................................... 69 Farmer, Dayworld Breakup (Brizzi) ............................................... 70 Friesner, Hooray for Hellywood (Larrier) ...................................... 71 James, Sorcerer's Stone (Mallett) ................................................... 72 Kerr, Polar City Blues (Wytenbroek) ............................................. 73 McDowell, Taplin (Umland) ......................................................... 73 Preuss, Venus Prime: The Diamond Moon (Ferguson) .................. 75 Robinson, Callahan's Lady (Hellekson) ......................................... 76 Shiner, Nine Hard Questions About the Universe (Sanders) ......... 77 Williamson, Into the Eighth Decade (Levy) ................................... 79 Zahn, Star Wars: Heir to the Empire (Hellekson) ........................... 80


4 SFRA Newsletter, 90, September1991 President's Message Our Foothold in Cyberspace Jim MacDonald, Sysop ("system operator") of the GEnie Science Fiction Roundtable (the SFRT) has recently established a private meeting area online for members of the SFRA, and it is now time for even our technophobes to lay aside fear and self-doubt even though you can't figure out how to operate your TV's remote control, you can get online with the SFRA with little fuss and bother. The GEnie SFRT is the most active SF online meeting area in the world's growing electronic noosphere. Its several thousand members, including fans, writers, editors and scholars, log onto the system daily from Germany to Japan and South America to Canada. Nearly 200 members of the Science Fiction Writers of America are online with GEnie. For $4.95 a month, you can have unlimited "non-primetime" access to GEnie's "basic services" from 6 pm at night to 8 am the following morning, including the SFRT bulletin boards. GEnie will accommodate all types of computers, be they IBMs, IBM clones, Apples, Ataris or old CPM systems. Dialing into a "local node" (computer equipment in your local area accessed with your modem by dialing a local phone number), you have im mediate access to an international SF community with no long distance charges. GEnie has more local nodes worldwide than any other online ser vice and unlimited electronic mail is included in GEnie's basic services. If you get your friends online, you'll likely cut your postage and phone bills significantly. The SFRT Bulletin Board is currently divided into 47 "categories" (read "topics") of discussion, and categories are themselves divided into many "topics" (read "subtopics"). Among the categories are three for the discus sion of authors (with topic areas for nearly 150 authors), writer's workshops, categories for the consideration of specific books, SF film, SF television and radio, non-network SF television and radio, and music and art in SF. In category 3, "The Written Word Concepts and Theory," some of the 27 topics include "Religious Faith in SF and Fantasy," "Deconstruction, Semiotics and Postmodernism," "Apocalypticand Post-apocalyptic SF," "The Nouveau Roman and Science Fiction," "The Quest: Myth or Cliche?" "Why do Some Books Create Fandoms?" "Homosexuality in SF and Fan tasy," "Censorship," "SF Poetry," and "Copyrights in the 1990s." When I last logged on, "Moral Fiction" had 658 messages posted as the conversation built, and "Whatever Happened to the Holy Grail" had 687. (Before long, the SFRT Sysop will archive the earlier messages in these topics, placing them in the SFRT Libraries, where they can be referenced by interested members.)


SFRA Newsletter, 190, September 1991 5 In the Roundtable still, but outside basic services, is realtime conferencing. If the members of the Science Fiction and Fantasy Feminist Forum or our Publications Committee wanted to meet for a one hour con ference to exchange ideas or develop projects, they could reserve a realtime conference room, have it closed to all but themselves and be in immediate contact with each other in much the same way as a conference call. Services like this beyond the basic services cost $6 an hour in non-primetime. Of course, there are other things in basic services beside the SFRT: dis count shopping; national, international, financial and weather news; business and financial services; a travel and airline reservation service; countless special interest and professional bulletin boards. The Grolier 12 mil lion word online encyclopedia (for which our own Tom Clareson wrote the general entry on Science Fiction) is in the basic services area, too. There is online gaming with great graphics that will have you dueling in realtime in Mustangs at 12,000 feet with other "pilots" thousands of miles away, or building your own galactic empires. (The game area is outside the basic services area and is charged at $6.00 an hour.) I have checked with the experts at GEnie and I am assured by them all that there is no possible way for a computer to pick up a virus simply by being logged on to an online service. Computers get viruses when their owners download virus-laden software, usually from small, local BBSs run by hobbyists. If you don't put strange disks in your floppy drives, and you never download software, you can be completely certain you'll never have a problem. (GEnie screens all programs uploaded to the system before it posts them no one has ever caught a virus from the system.) Need a modem? Call CompuAdd at 800-627-1967. This very reputable mail order computer equipment company is offering 2400 baud internal mo dems for $49 US. If you have an open serial port, external modems are $79. You can install it Andy Hilgartner, our SFRA computer wizard, has gra ciouslyoffered his technical assistance for any member who needs it. Just give him a call. Once you have your modem, set your communications software for half-duplex (local echo) and dial 800-638-8369. Type HHH when you connect and when the "U#=" prompt appears type XTX99544, GENIE. That's all there is to it. An SFRA online community would be a great way to build on relation ships that are renewed annually at our conferences, and to get to meet SFRA members who are seldom able to attend the annual meetings. It would be an efficient way to coordinate Association projects and committees. Betsy Harfst, for instance, is online now, making it easy to get a quick go-ahead for that book you want to write up for the SFRA Review. Thirteen of us are online as I write more by the time you read this. Join us! Pete Lowentrout


6 SFRA Newsletter, 90, September1991 Twenty-Third Annual SFRA Conference The 1992 SFRA Annual Conference is tentatively scheduled to be held on June 18-21, the third week-end of June, at John Abbott College which is located on the western tip of the island of Montreal. One theme that suggests itself because of the location is SF and F in languages other than En glish. Suggestions or proposals regarding this and other aspects of the con ference are more than welcome, however, and can be sent to me at home or to the college: Steven Lehman, 4319 Esplanade Street (2), Montreal, PQ H2W 1 Tl Canada; Box 2000, Ste. Anne de Bellevue, Quebec, Canada H9X3L9. Steven Lehman Conference Director SFRA Conference Pictures (Taken with Betty Hull's camera) SFRA Executive Commitee Betty Hull, Dave Mead, Pete Lowentrout, Betsy Harfst, Muriel Becker, &. Edra Bogle


SFRA Newsletter, 190, September 1991 Jack Williamson & Muriel Becker 7


8 Sprague de Camp RUSty Burke Lynn Williams & Elizabeth Cummins SFRA Newsletter, 90, September1997 Joan Slonczewski & Martha Bartter


SFRA Newsletter, 790, September 7997 9 Recent and Forthcoming Books Year of publication is 1991 unless noted otherwise,. (P) denotes publi cation confirmed. All unconfirmed dates are tentative. Most books have been or will be reviewed in these pages. Reference Cawthorn, James & Michael Moorcock. Fantasy: The 100 Best Books. Carrol & Graf, August. Reprint of 1988 ed. Hoffmann, Frank & William G. Bailey. Arts & Entertainment Fads. Haworth Press (P). Salmonson, Jessica Amanda. The Encyclopedia of Amazons: Women Warriors from Antiquity to the Modern Era. Paragon House (P). History & Criticism Bammer, Angelika. Partial Visions: Feminism and Utopianism in the 1970s. Routledge, November. Barry, John A. Technobabble, MIT Press, October. Benedikt, Michael L., ed. Cyberspace: First Steps. MIT Press, October. Berlant, Lauren. The Anatomy of National Fantasy: Hawthorne, Utopia,& Everyday Life. Univ. of Chicago, July. Cheyfitz, Hugh. The Poetics of Imperialism: Translation and Colonization from The Tempest to Tarzan. Oxford (P). Chre'tien de Troyes. Lancelot, or, The Knight of the Cart. tr. by Ruth Harwood Cline, Univ. of Georgia, 1990 (P). Cornwell, Neil. Literary Fantastic: From Gothic to Postmodernism. London: Harvester Wheatsheaf (Pl. Easthope, Antony. Literary Into Cultural Studies. Routledge, December. Franz, Marie-Louise von. Individuation in Fairy Tales. Rev. ed. Shambala, 1990 (Pl. Goodrich, Norma Lorre. Guinevere. Harper Collins, May (P) Gordon-Wise, Barbara Ann, The Reclamation of a Queen: Guinevere in Modern Fantasy, Greenwood (Pl. Hackett, Martin. Fantasy Wargaming: Games with Magic & Monsters. Patrick Stephens, UK, 1990 (P). Hollis, Susan T. The Ancient Egyptian "Tale of Two Brothers"; the Oldest Fairy Tale in the World .. Univ. of Oklahoma Pr., 1990 (Pl. Kumar, Krishnan. Utopianism. Univ. of Minnesota (P). Le Guin, Ursula. Dancing at the Edge of the World; Thoughts on Words, Women, Places. Perennial Library/Harper, 1990 (Pl. Reprint. Lem, Stanislaw. M icro worlds. London: Mandarin (P). Reprint of 1985 ed. Rucker, Rudy. Transreal! WCS Books, July.


10 SFRA Newsletter, 90, September1991 Slusser, George & Tom Shippey, eds. Fiction 2000: Cyberpunk and the Future of Narrative. Univ. of Georgia Press, spring 1992. Time-Life Editors. Utopian Visions. Time-Life Books, 1990 (Pl. Vonnegut, Kurt. Fates Worse Than Death: An Autobiographical Collage of the 19805. Putnam, August. Author Studies [Biercel. 21 Letters of Ambrose Bierce, ed. by Samuel Loveman, Necronomican Press. (P). [Borgesl. Fishburn, Evelyn A. & Psiche Hughes. A Dictionary of Borges, Duckworth, London, [Dick], Philip K. In Pursuit of Valis: Selections from the Exegesis, ed. by Lawrence Sutin, Underwood-Miller, October. [Gilman]. Lane, Ann J. To "Herland" and Beyond: The Life and Work of Charlotte Perkins Gilman. Penguin/Meridian, November, Reprint. [Jamesl. Tintner, Adeline R. The Cosmopolitan World of Henry james: An Intertextual Study. Louisiana State UP. July. [Kafkal. Gross, Ruth V., ed. Critical Essays on Franz Kafka. G. K. Hall, 1990 (P). [Kafkal. Thiher, Allen. Franz Kafka: A Study of the Short Fiction. Twayne, 1990 (P). [Le Guinl Rass, Rebecca. Ursula K. Le Guin's The Left Hand of Darkness. Monarch Notes/Prentice Hall, 1990 (P). [Lewisl. Duriez, Colin. The C. S. Lewis Handbook. Baker House, 1990 (P). [Lewisl. Edwards, Bruce. L., ed. The Taste of the Pineapple: Essays on C. S. Lewis as Reader, Critic and Imaginative Writer. Bowling Green State Univ. Popular Press, 1989 (P). [Lewisl. Lewis, C. S. All My Roads Before Me: The Diary of C. S. Lewis, 1922-1927, ed. by Walter Hooper. Harcourt Brace Jovanovich (P). [Lovecraft]. Cook, W. Paul. In Memoriam: Howard Phillips Lovecraft, Recollections, Appreciations, Estimates. Retypeset reissue of 1977 ed. Necronomican Press (Pl. [Lovecraftl. Shea, J. Vernon. In Search of Lovecraft. Intro by Robert Blochk, afterword by Donald Wandrei, Necronomicon Press (P). [Tolkienl. Tolkien, J. R. R. The Lord of the Rings. Centenary ed. with 50 color illus. by Alan Lee. Houghton Mifflin, November. [Tolkien]. Fonstad, Karen Wynn. The Atlas of Middle-Earth. Rev. ed. Houghton Mifflin. Nov. [TolkienJ. Tolkien, John & Priscella. A Tolkien Family Album. Houghton Mifflin, Jan. 1992.


SFRA Newsletter, 190, September 1991 Film & Television Coates, Paul. The Gorgon's Gaze: German Cinema, Expressionism, and the Image of Horror. Cambridge (Pl. Douglas, Drake. Horrors! Paragon House, September. Reprint. 11 Dixon, Wheeler Winston. The Charm of Evil: the Life and Films of Terence Fisher. Scarecrow. (Pl Goldberg, Lee. Unsold TV Pilots. Carol Publishing. (Pl. Joseph, Franz. Star Trek Star Fleet Technical Manual. Ballantine, Sept. Kerman, Judith B., ed. Retrofitting Blade Runner: Issues in Ridley Scott's Blade Runner and Philip K. Dick's 00 Androids Dream of Electric Sheep? Bowling Green State Univ. Popular Press. (Pl. Ray, Fred Olen. The New Poverty Row: Independent Filmmakers and Distributors. McFarland, summer. Roddenberry, Gene & Susan Sackett. Star Trek: The First 25 Years. Pocket Books, September. Smith, Steven C. The Life and Music of Bernard Herrmann. Univ. of California Press. (Pl. Illustration Hildebrandt, Tim. Tim Hildebrandt's Fantasy Art Techniques. Paper Tiger/ Dragon's World, September. Pennington, Bruce. Ultraterraneum: The Paintings of Bruce Pennington. Paper Tiger/Dragon's World, October. WORLD SF MEETS IN CHINA Elizabeth Anne Hull World SF, the International Association of Professionals (not to be confused with WSFS, the fan organization which operates the Worldcon) met in Chengdu, Sichuan Province, June 20-24. Among the attendees were Frederik Pohl, Elizabeth Anne Hull, Charles N. Brown, Suzy McKee Charnas, and Jack Williamson, all from the United States; and Brian Aldiss, Brian and Jane Stableford, and (World SF President) Malcolm Edwards, from England; Thomas and Rosemary Mielke from Germany; Jaroslav Olsa and another man from Czechoslovakia; Takumi and Sachiko Shibano and Ken Yanaoka from Japan; Brigitte Scheer-Schaezler from Austria; Lu Yinzhong from Taiwan; Bruck Door from Australia; Ye Yonglie, Wang Fengzhen, Liu Xingshi, Shao Hua, Zheng Wenguang, Zi Minjun, Wang Xiaoda, Guo Jianzhong, Wang Fu, Yang Xiao, Yu Junxiong, Xiao Jianheng, Wu Yan, Cao Dejun, Huang Xiaopeng, Shen Zaiwang, Guan Yongsong, Huang Xiaopeng, Liu Xiaoyian, and many other Chinese from all over the nation. The opening ceremonies were held in two parts: at the Conference House of Sichuan Province Government in the morning, and a great three-hour afternoon display of dancing, opera, and other pageantry at the Jianjiang Auditorium; both


12 SFRA Newsletter, 90, September 1991 ceremonies were graced by speeches by the Vice-Governor of Sichuan Province, who welcomed us warmly and reminded us that Sichuanese comprise 1/S0th of the world's population. The Chinese "Milky Way" and "Forest Cup" were presented to Chinese winners, followed by awards to children for sf creations. These children, chosen by the Department of Cultural Ministry, painted pictures especially for each of the foreign guests and we saw numer ous other displays and demonstrations, such as acupuncture, calligraphy, paper cutting, etc. During the week of meetings (held at the Sichuan Association of Sci- ence and Technology), many speeches were made, trading information and opinions about science fiction; and each country made a report to the others on the state of sf in their nation. In between we at tended many banquets and most delegates were inter viewed by the press at least once. Meetings were frequently videotaped, many photos were taken, and the It\ .. ;; Y;;':'T....local and national papers 1M .... both gave extensive cover-age, indicating the impor-Fred Pohl and friend at Wolong Nature Preserve Tibet tance of th is conference for the Chinese. This is not an easy time for publishing any literature in China. Among the Chinese themselves there were heated debates over the purpose of science fiction, whether it should be a literature to popularize science for children or a vehicle of social commentary and satire. No doubt many professional contacts were initially established or strengthened outside the official meetings, while special entertainments and sightseeing tours were provided by the hosts. A local bottler (Emei Mt. Mineral Water Plant) spon sored an evening's entertainment at the Chengdu Sports Stadium (packed with 10,000 Chinese) to honor our delegation at a concert of modern song and dance dedicated to us.


SFRA Newsletter, 190, September 1991 13 One of the highlights of the week, however, was a visit to Tibet to see Pandas in the wild at the Wolong Nature Preserve and Giant Panda Breeding Station. The evening entertainment included three great bonfires and Tibetan dancers leading the rest of us to dance around the fires. This was meant to be an overnight excursion, but since heavy rains caused eight major rockslides on our access back to Chengdu, we were stranded an additional day while all the able-bodied Chinese along the road were drafted from their farmwork or other usual occupations to clear the road enough to let our caravan of 300+ people return. (We simply held meetings in Wolong and continued the busi ness as necessary.) Driving and sometimes walking out over the only partially cleared rockslides was scary and might have turned into a disaster, but since we survived, it was an unexpected adventure, a story to tell our grandchildren. Upon our return to Chengdu we had a farewell banquet, at which the Karel awards for excellence in translation were presented to laraoslav Olsa for the staff of Ikarie Maga zine (Czechoslovakia), Takumi Shibano (Japan), Guo Jianzhong (China), and the staff of Science Fiction World edited by Yang Xiao (China). Other awards were announced (Brian Aldiss's luggage containing the actual trophies was still lost as we prepared to leave Chengdu): the Harrison Award for Improving the Status of SF Internationally went to Arthur C. Clarke (Sri Lanka); the President's Award for Indepen dence of Thought in Science Fiction went to Wang Fengzhen (China). Afterward, we had a final evening of minorities' song and dance at the Rehearsal Hall of the Sichuan Song and Dance Ensemble. Our whole delega tion was invited on stage after the performance for pictures with the performers. All in all, quite a thrill. With World SF's first ever meeting in Asia, it has at last truly begun to earn its Betty Hull with Great Panda name. The next day, Fred and I, with Suzy, lack, and Charles, as well as the Shibanos, traveled with Guo lianzhong to talk to his students at the Center for the Study of Science Fiction at Hangzhou Univer sity. Although we didn't quite have the banners across major streets or huge signs greeting our group at every point as we had had in Sichuan Province and the Tibetan AutonoI mous Region, we were warmly welcomed by the President of Hangzhou University, Shen Shanhong, and had a delightful banquet with faculty and administrators. Because this was one of the cities I had visited 10 years ago, it was here that I could see the greatest difference in China in the intervening decade. No longer was I stared at-Western tourists have become commonplace in this beilutiful city. Perhaps il decade from now the same will be true allover ChinJ.


14 SFRA Newsletter, 90, September1991 After Hangzhou the five of us traveled to Beijing, for five more days 01 sightseeing as well as more time with Wu Van (who is teaching SF at Beijing Nor mal University), Zheng Wenguang (the Dean of SF in China), and Wang Fengzhen "talking SF" more informally. We also traveled for a weekend to Inner Mongolia, where I got to see Xu ("Ben") Bingxun, who was a visiting scholar at Harper CollegE last spring, and meet his son Xu ("Robert") Tan, a great fan of science fiction, as well as visit the grasslands and eat the compulsory boiled sheep. Oh yes, and I walked on the Great Wall for the third time-Just Imagine! Elizabeth Anne Hul, Jane & Brian Stableford (England) S.M. Charnas. j. Olsa (Czech)


SFRA Newsletter, 190, September 1991 News and Information More Author Bibliographies Issued 15 Four more author "working bibliographies" have been added to the approximately 40 earlier titles compiled by Gordon Benson, Jr., Box 40494, Albuquerque, NM 87196, and Phil Stephenson-Payne, 'Imladris', 25A Copgrove Road, Leeds, West Yorkshire LS8 2SP, UK. The subjects this time are Marion Zimmer Bradley (by both; March 1991; 51 p., $4/.50), Frank Herbert (by S-P; November 1990; 48 p., $3.50/), Fritz Lieber{2nd rev. ed. by both; October 1990; 90 p. in 2 volumes, paged continuously, $6/.75) and Fred Saberhagen (by S-P; March 1991; 28 p., $2.50/.50). These are offset or photocopied from neat typescript on one side of standard letter-size sheets and assembled in term paper-style folders. They are current through sometime in 1990. Entries are limited to English language and are divided into 18 sections (stories, books, poems, articles, nonfiction books, reviews, articles & books about the author, etc), with the standard introduction ex plaining each section's structure in detail. I've reviewed and described earlier bibliographies by this duo. These are precisely the sort of thing that enormously benefits from a word processor, which would make them graphically much more attractive and permit almost effortless revision and updating. I hope they'll convert to this pro duction mode soon. They leave a lot to be desired as far as formal descrip tive bibliography is concerned, but most of what you'd need is there, and the prices can't be faulted. Add a buck or two for postage when you order. -NB Tarzan on the Tube American First Run Studios, 14225 Ventura Blvd, Sherman Oaks, CA 91423, has recently completed shooting 25 half hour episodes ofTarzan for TV viewers. The literature they sent me didn't say whether this would be on network, in syndication and/or on cable, but you'll undoubtedly hear about it when it's about to screen. This is, the promo kit proclaims, a Tarzan for the '90s, "a compassionate hero, deeply concerned with protecting his fellow creatures and preserving their environment." The villains this time around include drug smugglers, toxic waste dumpers, animal poachers, strip miners, illegal deforestation, with the bad guys played by "major guest stars." Umgawa to you all. -NB


16 SFRA Newsletter, 90, September 1991 Soft Core Tarzan? When the Hays Office was censoring American films, some of the "pru rient" material that ended up on the cutting room floor was from six of the Tarzan films starring johnny Weismuller and Maureen O'Sullivan, released from 1932 through 1942. A review in the Los Angeles Times says the best of the six was Tarzan and His Mate, 1934, now available on MGM!UA home video laser disc. "All the censored scenes in this crisp black-and-white "Tarzan and His Mate" have been restored, and they are enough to make any audience almost blush ... Few moviegoers in 1934 had a chance to see the uncut "Mate" -a semi-nude swim, topless tribal women and some of the goriest action this side of "King Kong" ... They had to be content watching Weissmmuller and O'Sullivan in the skimpiest costumes imaginable ... More than 50 Tarzan films followed the Weissmuller-O'Sullivan series, and nearly 20 other actors tried their hand at playing Tarzan, but nothing equals these original talkies. Weissmuller's Tarzan makes Harrison Ford's Indiana jones look like a wimp, and Maureen O'Sullivan's jane makes Bo Derek look anemic, even in black-and-white." -NB Cyborg Feminism Sounds mysterious, doesn't it? It's the title of Takayuki Tatsumi and Mari Kotani's edited book, whose subtitle is Haraway, Delany, Salmonson. It's in japanese, but just in case you know someone who can translate the origi nal essays, here are the contents: "On Cyborg Gender" (Tatsumi's reading of Tiptree's "The Girl Who Was Plugged In," Barthe's S/Z, and David Henry Hwang's M. Butterfly, in terms of Donna Haraway's poetics; Donna Haraway, for the record, authored Primate Visions: Gender, Race, and Na ture in the World of Modern Science, Routledge, 1989); a translation of Haraway's "A Manifesto for Cyborgs-Science, Technology, and Socialist Feminism in the 1980's"; a translation of Delany's "Reading at Work and Other Activities Frowned on by Authority: a reading of Donna Haraway's 'A Manifesto for Cyborgs"'; a translation of jessica Salmonson's "Gender Structure of Shell Persons in (McCaffery's) The Ship Who Sang"; and Tatsumi's "M. Butterfly: otherwise," an interpretation of Richard Calder's concept of "nanotech gynoids". Order from Treville Publishers, Tokyo, ,500. -NB


SFRA Newsletter, 190, September 1991 17 Tolkien Centenary Approaches 1992 is likely to see a lot of Tolkien-related material, since the author was born 3 January 1892. Houghton Mifflin is the principal publisher of Tolkien in the U.S. and will be issuing at least four new editions of interest to Tolkien buffs. Coming in November is a new edition of the three volume epic, The Lord of the Rings, which HM claims to be the first illustrated edi tion. This includes reproductions of fifty color paintings by Alan Lee, a British illustrator perhaps known to Newsletter readers as co-illustrator with Brian Froud of Faeries. The cloth edition is $60 and includes a foil-lami nated jacket, centenary seal, and ribbon place marker. A boxed edition Signed by Lee is $200. Also due in November is a revised edition of The Atlas of Middle-earth by Karen Wynn Fonstad, with a third of the maps new ($15.95 paper), and a new edition of The Father Christmas Letters, letters from the 1920s and 1930s from Tolkien to his children and illustrated in color by the author. Due in the centenary date is A Tolkien Family Album by John and Priscella Tolkien, with the text supplemented by family photos, most never before published ($29.95). Cyberspace, T echnobabble & the Shrinking Man Cyberspace: First Steps "focuses on the theoretical and conceptual issues involved in the design, use, and effects of virtual environments, offering fic tions, predictions, and proposals-forming a collective search for appropriate metaphors and possible structures that might provide the basis for future virtual worlds." That's from MIT Press's catalog for this October book (24.95), ed. by Michael L. Benedikt of the school of architecture at UT, Austin. Among the contributors is William Gibson. A September MIT book is Technobabble (22.50) by John A. Barry, which he defines as "the pervasive and indiscriminate use of computer terminol ogy, especially as it is applied to situations that have nothing at all to do with technology," to quote the catalog copy. As humans are dehumanized, com puters are anthropomorphised: we interface, computers talk to one another; some people refer to their leisure hours as downtime; and in California's Silicon Valley, getting something off your chest is also known as core-dump ing. BLrn Kurt_n has collected his essays as The Innocent Assassins: Biologi cal Essays on Life in the Present and Oistant Past (Colombia, 1991). One essay examines the 1957 film, The Incredible Shrinking Man, probably not ing the absurdities others have discussed, as in The Science in Science Fic tion by Peter Nicholls, et al (1983). -NB


78 SFRA Newsletter, 90, September7991 Twenty-Third Annual SFRA Conference The 1992 SFRA Annual Conference is tentatively scheduled to be held on June 18-21, the third week-end of June, at John Abbott College which is located on the western tip of the island of Montreal. One theme that sug.1 gests itself because of the location is SF and F in languages other than En glish. Suggestions or proposals regarding this and other aspects of the con ference are more than welcome, however, and can be sent to me at home or to the college: Steven Lehman, 4319 Esplanade Street (2), Montreal, PQ H2W 1 T1 Canada; Box 2000, Ste. Anne de Bellevue, Quebec, Canada H9X3L9. Steven Lehman, Conference Director Horror Review Quarterly Debuts Necrofile: The Review of Horror Fiction is a quarterly review journal of contemporary American and British horror fiction and non-fiction edited by Stefan Dziemianowicz, Michael Morrison, and S.T. Joshi and published by Necronomicon Press, publishers of Lovecraft Studies and Studies in Weird Fiction. Necrofile is devoted to critical review essays and will include in each issue Ramsey Campbell's column "Ramsey Campbell, Probably," cap sule reviews of important books not covered in the main review section, and complete listings of all British and American titles published in the preceding three months. "The Dark Chamber," an occasional column, will provide different writers with a forum for addressing pertinent issues in the horror field. Individual issue price is $2.50, a 4-issue subscription $10.00. The first issue is scheduled for July 1991. Write to Necronomicon Press, 101 Lockwood St., West Warwick, RI, 02893. Stefan DziemianowiCl Young Readers SF Book in Progress C.W. Sullivan, III, is editor-in-chief for a proposed new book to be pub lished by Greenwood Press, tentatively titled, Science Fiction for Young Readers. Elizabeth Anne Hull is writing the article on Isaac Asimov. Pulphouse New Releases Two new releases from Axolotl Press are a novel, Kill the Editor, by Spider Robinson, Hugo and John W. Campbell award winner (june, 1991; and a new novella, Our Lady of the Harbour, by Charles de Lint, scheduled for September.


SFRA Newsletter, 790, September 7997 79 The Death of Time Travel For many years physicists have argued that events are "time symmetrical," that is, indifferent to chronology. True, in the macroscopic world we inhabit, effects follow causes, the ignored coffee grows colder, not hotter, an example of the second law of thermodynamics. Time travel has been one of the most popular motifs in SF from its earliest years in the 18th century to current prac titioners, with the means including suspended animation, sleep, mesmerism, dreams, cryonics and of course a machine which gives the time traveler con trol over his or her movement through time. Wells, trained in science, was fond of including a bit of what he called scientific patter to lend believability to a story, as in The Time Machine .. Greg Benford, a practicing scientist as well as a writer, included still more patter about tachyons and such in Timescape. If scientific credibility is important to the notion of time travel, we may be in big trouble, according to Peter Coveney and Roger Highfield, British authors whose The Arrow of Time: A Voyage Through Science to Solve Time's Greatest Mystery has been published in an American edition (Fawcett Columbine, $22.50, 384 p.) Although admitting the possibility of reversibility in the sub-atomic range, they argue in detail that in any larger realm time's arrow points in only one ir reversible direction. So, if you've finally mastered Stephen Hawking's bestseller, A Brief History of Time, sharpen your pencil, open your wallet, and get ready to abandon another dogma. NB Stephen Donaldson as CO Hell NO, We Won't Go: Resisting the Draft During the Vietnam War (Viking, $21.95) is an oral history by Sherry Gerson Gottlieb of those who successfully avoided serving in Vietnam, among them comedian Chevy Chase, whose classification as homosexual is one of the stranger revelations. I haven't seen this book, but the Washington Post Book World's brief review quotes Donaldson on his CO status as lithe only brave decision of my life." NB HPl & Friends Summer 1991 releases from Necronomican Press include three booklets to be reviewed: J. Vernon Shea, In Search of Lovecraft; W. Paul Cook, In Memoriam Howard Phillips Lovecraft (reissue of 1977 edition); and 27 Letters of Ambrose Bierce, ed. by Samuel Loveman; and issue 2 of The Dark Man: The Journal of Robert E. Howard Studies and Crypt of Cthulu 78, which has a one page piece by Robert M. Price with a wonderful title, liThe Unspeakable Spawning of the Proto-Shoggoths," soon to be a major movie directed by Clive Barker with script by Shaun Hutson and starring John Agar. NB


20 SFRA Newsletter, 90,September1991 ICFA 13 Call For Papers The 13th International Conference on the Fantastic in the Arts will be held Wednesday through Sunday, 25-29 March 1992, at the Ft. Lauderdale Airport Hilton. Richard Adams is guest of honor, Frank Kelly-Freas is the special art guest, Robert Wise the special film guest, along with a cast of thousands ... well, hundreds, anyway. About 200 papers are presented, along with panels, author readings, sacrificial offerings and other satanic activities. Request a brochure from Don Palumbo, English Dept. Shippensburg Univ, Shippensburg, PA 17257, if you don't plan to present a paper, or from C. W. Sullivan III, English Dept. East Carolina Univ., Greenville, NC 27858-4353, if you do. NB California Area Code Changes This fall, in some areas, there will be changes in telephone area codes. For example, Alameda and Contra Costa counties, California, those across (east of) the bay from San Francisco, change from 415 to 510 on 70ctober.* On 1 February 1992, the western, coastal, southern and eastern portions of Los Angeles county will change from 213 to 310. Other areas may also be affected. Please notify the Treasurer, Edra Bogle, of any changes in your phone number if you are in one of the areas that will be changing. She will see that the new listing is published in the Newsletter. NB *[This change affects Locus in Oakland. Locus says the change is effec tive 2 September 1991, but an insert in my phone bill a few months ago gave the later date. -NBJ KU Recognizes Best Science Fiction Works Pacific Edge, a novel by California author Kim Stanley Robinson, received the John W. Campbell Award for the best science fiction novel of 1990 at a July 20 dinner sponsored by the University of Kansas Center for the Study of Science Fiction. The Theodore Sturgeon Award for the best short science fiction story of 1990 went to New York author Terry Bison for "Bears Discover Fire." The awards were announced by James Gunn, center director and KU professor of English; Frederick Pohl, a noted author; Elizabeth Anne Hull of William Rainey Harper College; and Stephen Goldman, KU associate pro fessor of English.


SFRA News/etter, 190, September 1991 21 Pacific Edge is the concluding novel in a trilogy dramatizing three different futures for Orange County, Calif. The novel depicts a county where the downsizing of industry and govemment has created a utopian, small-town existence that still has its struggles, triumphs and disappointments. The second-place award winner was Queen of Angels by Greg Bear. The thirdplace award went to James Morrow for Only Begotten Daughter. Also recognized were RA Lafferty's novelette "Episodes of the Argo" and John Bames' "My Advice to the Civilized." The awards were preceded by the day-long Campbell Conference, in which the science fiction canon was discussed. James Gunn Kim Stanley Robinson, Terry Bison, and James Gunn THE SHAPE OF FILMS TO COME July 1991-Produced at a cost of 90 million dollars, ittook in atthe box office 125 million dollars over the fourth of July weekend, the first weekend it opened. Staggering, isn't it? These are the dollar signs ringing up for Tenninator 2: Judgment Day, directed and produced by James Cameron, cowritten by Cameron with William Wisher, and starring Amold Schwarzenegger and Linda Hamilton, both from the original Tenninatormovie. It also stars a newly-found, untrained but natural youth named Edward Furlong in the important role of John Connor as a boy. Tenninator 2 continues to dominate the box office as the number one movie of the summer, and again, science fiction (or "sci-fi" or sciffy, as I like to pronounce it) is equated with fantastic special effects, huger-than-life charaders, and nonstop, exhausting action. Critics and audiences like it, one critic writing that it is the sci-fi adion thriller that all other sci-fi action thrillers will be measured against from now on. I guess so. The movie certainly has some astonishing sequences. There is a chase scene along a thoroughfare between a kiddie cycle and a two-ton truck that is incredible. There is a dream sequence of the coming nuclear holocaust that is gut-wrenching, even


22 SFRA Newsletter, 90, September1991 if slightly unreal in depiding the effeds on human flesh. But the most outstanding special effects involve the new kind ofTerminator called T-wOO, played by Robert Patrick. He is not a cyborg in the same sense as the original Terminator. He is made of a liquid metal like mercury, that enables him to transform into anything at will. This allows T-1 000 to literally "flow" into any form it wishes. It imitates a linoleum floor and flows upward to take on the form of the man who had just walked across it; it flows into a helicoptor seat in the air through a broken window, changing into a man before the eyes of the helicoptor pilot; and, thrust against a wall by the good-guy Terminator, its back becomes its front without moving a muscle. Even without all the other chases, explosions, and destrudion, this mercurial creature surpasses most of the effects I've seen previously. Having said all that, I must add that the film explores an age-old science fidion idea without expressing anything that is fresh or innovative. Its plot is a continuation of threads begun in the first Terminatormovie. The T-1 000 was sent back in time from 2029 A.D. to kill the young john Connor. Schwarzeneggers Terminator was manu fadured by the good-guys in the future, sent back by the adult john Connor to proted the boy john Connor. Meanwhile, Sarah Connor had been committed to a sanitarium under maximum security. Aside from the chase scenes ofT-1 000 tracking the boy and his protedor, the film tries to answer the question of whether or not the future can be prevented. The escaped Sarah Connor goes after the young scientist whose studies will eventually lead to nuclear war and the reign of the future machines. Unable to kill the scientist, Miles Dyson, portrayed by joe Morton, Sarah, joined by Schwarzeneggers cyborg and her son, explain to Dyson how his work will cause world catastrophe. They succeed in altering the future by destroying all evidence of the cyborg technol ogy. They do this by blowing up the entire building housing Dyson's studies, and Dyson is killed in the process. The Terminator protedor willingly sacrifices himself to the same pool of corrosive acid that destroyed the T-1 000 so that no evidence of their existence remains. Thus, the future of earth has been preserved from nuclear war and world dominance by machines. There's just one thing: Sarah Connor and her son are fugitives who destroyed a building, caused general mayhem, and are wanted by local police, the FBI, and the sanitarium authorities. Sarah and John have been left with no proof to support the incredible story they have to tell. Furthermore, if there is not going to be any nuclear war on the specified date, then they are guilty of engaging in mass destrudion of property and lives without any substantial REASON, since that reason has been obviated. In short, Sarah and John are in quite a pickle when the movie ends. I suppose that means there will be a Terminator 3. The problem hc:re is that james Cameron has moved his storyline ahead without any cognizance of "The Grandfather Paradox" that every SF aficionado is familiar with. Also, the decision to simply blow up Dyson's office building is unsubtle in the extreme. But then, the entire movie is unsubtle. In the end, Cameron's choices do less to serve science fidion, while doing more to advance cheeky adion-adventure to a greater volume of pandemonium than ever before. Theodore Krulik


SFRA Newsletter, 190, September 1991 23 SFRA MARKET SU RVEY My previous survey appeared in Newsletter 1 72, November 1989, and was current through spring 1989. This new survey is current through spring 1991. My thanks to the book and magazine publishers who took the time to reply. I have tried to list here the most likely outlets that you should con sider when submitting a proposal or manuscript for an article or book deal ing with fantastic fiction or film. You may also wish to scan the entries in Hal Hall's research index in the most recent Locus annuals for many less likely outlets not listed here. I. Book Markets My annual surveys of English language book-length nonfiction dealing with fantastic literature, film and illustration for the Science Fiction & Fantasy Book Review Annual over the past several years have each listed about 110-150 books, almost all of them originals. These have ranged from popu lar studies to the heaviest of academic fare. These bibliographies are worth checking as a supplement to this survey, or scan the last year or two of News letter nonfiction reviews. I have not noted any significant changes in the market for books, since the major changes have been in trade book publishing, i. e., those books typically sold in trade outlets, mostly bookstores (as distinct from non-trade outlets like grocery and drug stores, which sell only mass market paper backs). The major market for nonfiction has always been professional (doc tors, lawyers, specialists in many fields) and libraries, with academic studies sold mostly to the latter. When you're seeking a book publisher, supplement this survey by checking the latest edition of the annual Literary Market Place, which lists the types of books published by hundreds of American book publishers along with their principal staff. More inclusive, but limited to publisher names and addresses, is the publishers volume of the annual Books in Print. When no specific individual's name is shown in the following listings, head your envelope and cover letter Acquisitions Editor. Proposals should be 1-3 pages, double-spaced, plus a relatively brief cover letter. Regardless of the exact format you select for your proposal, the publisher must have a clear and moderately detailed idea of your proposed book, including con tents, organization and audience. You should also note what is distinctive or unique about your proposed book and how it differs from any similar works. Your choice of publisher will of course partly dictate the market. Many publishers use outside readers to screen proposals, which is why replies may take several months.


24 SFRA Newsletter, 90, September1991 If your book will include anything other than text, such as line drawings, halftones, or color plates, be explicit about this. You're responsible for obtaining permission to reprint any copyrighted material (this is usually pro forma but can be time consuming). Provide your best estimate of the length of the book (in manuscript pages or words) and the number of months it will take you to have a publishable manuscript, computed from the signing of the contract. Information regarding contracts is available in dozens of books for writers. Most publishers use a standard or boilerplate contract, and I suspect most authors sign it as is. Such contracts aren't written in stone and may be changed, often with little difficulty. Copyright should be in your name if you're the sole author. If you're the editor of a book, you should request copyright in your name, and have individual (probably standard) agreements with each of your contributors, who should have the right to reprint their contribution with no payment of any fee, only the acknowledgment that the piece appeared earlier in your book. It's easiest if you pay your contributors a flat fee rather than prorated royalties. Most publishers will provide you with a small advance against future royalties to cover your out of pocket expenses, such as photocopying, tele phone, supplies and postage-say $500. The standard royalty for the sort of buok most of you might be considering is 10%, based either on the list or net, billed price. It can be higher (my royalty is 12.5%) but not by much. Roy alties are usually paid twice yearly. Sales of books for a popular audience can be-but rarely are-large and thus generate substantial royalties. More typically, however, are sales of 500 for an expensive reference book to 1500-2000 copies for a typical "academic" work, often published by a university press. A "best" seller in the scholarly/academic market might approach 5000-7000 copies. If you esti mated a list price of about $28 for your book, with a short (20%) discount for the library/professional market, and a royalty rate of 10% based on net selling price, you'd receive about $2.25 per copy in royalties, or about $2000 for sales of about 900 copies, this revenue over three years. Most academics regard publication as an extension of their research, for which they are in principle paid by their college or university, and look upon royalties as frosting on the cake. That's why they're often willing to accept little or nothing for their scholarship; academic egoboost is enough for many. Publishers know and benefit from this, since their payout is very modest compared with, say, a novelist trying to make a living from his writing, or an editor like me who has the archaic notion that compensation should bear some relationship to effort and value to the publisher. Here's an actual ex ample to illustrate my points.


SFRA Newsletter, 190, September 1991 25 R.R. Bowker is the principal publisher for the book and library trade and published three editions of my Anatomy of Wonder (1976, 1981, 1987). If we could have agreed on terms, they'd have published the fourth edition (they still might if they can find an editor who will accept their terms). The proposed fourth edition would have dropped coverage of SF not translated into English, added some features included in my Garland guides to fantasy and horror, and run about 700-725 printed pages (vs almost 900 pages for the $39.95 third edition). I estimated sales of about 2000 copies at a $41.95 list price, $30 net price. 2000 copies x $30 x 12.5% generates $7500 in royalties, about half of which would go to the contributors, some of whom are academics, some not. Contributors would receive between 1.25 and 2.0/word ($5-$8 per printed page), a bit more than Gernsback was paying 60 years ago but not by much. I tried unsuccessfully to get a grant to supple ment the royalties I could afford to share. I concluded it simply wasn't worth my time for all the effort involved and declined. Of course I tried to have the royalty rate based on list, not net price, which would have meant $10,500 in royalties; no dice. You, Gentle Reader, know what you're worth. Fais ce que vouldras, as Rabelais said. Publisher Profiles For convenience I'm listing publishers in alphabetical order, with briefer notes or simply names of others you might consider. Borgo Press, Box 2845, San Bernardino, CA 92406 Robert Reginald, a bibliographer and librarian, has run this press for more than 15 years. The Milford Series: Popular Writers of Today, a series of relatively short (usually under 100 pages) monographs, has in cluded some of the earliest studies of fantastic fiction authors. A related series, the Starmont Contemporary Writer Series, will be merged into the Milford series. Send proposals to Dale Salwak, Citrus College, 18824 E. Foothill Blvd, Azusa, CA 91702. Garland Publishing, 136 Madison Avenue, New York, NY 10016 Phyllis Korper or Gary Kuris. Interested in history, criticism, essay collec tions, bibliographies, indexes, college texts. Strong backlist in Arthurian studies. Include outline, sample chapter, other details. Greenwood Publishing Group, 88 Post Road West, Box 5007, Westport, CT 06881 Marilyn Brownstein. A large scholarly publisher whose Contributions to the Study of Science Fiction series has included papers from IAFA conferences, history, criticism and occasional author studies. A few other Greenwood monographic series have included studies of


26 SFRA Newsletter, 90, September1991 fantastic literature and film. Praeger Publishers, a subsidiary imprint, has published one study of SF. The emphasis has been reference books (dictionaries, handbooks, indexes, bibliographies, etc), all types of fantastic literature or film. Proposals OK for reference books but prefers to evaluate completed manuscripts for other types of books. Indiana University Press, 10th & Morton Sts, Bloomington, IN 47405 No response. Past books have emphasized history and criticism; forthcoming are David Ketterer's Canadian Science Fiction and Fantasy (late 1991) and Brian Attebery's Strategies of Fantasy (spring 1992). Kent State University Press, 101 Franklin Hall, KSU, Kent, OH 44242 Julia J. Morton. Emphasizes history, criticism, author studies. Has pub lished Bleiler's authoritative bibliographies of early supernatural and science fiction. Submit outline McFarland & Company, BOX 611, Jefferson, NC 28640 Robert Franklin, President. Interested in all types of works, marketed to libraries. Strong if uneven backlist in film studies, especially B movie studies. Major emphasis is reference books; monographs secondary. Necronomicon Press, 101 Lockwood St, West Warwick, RI 02893 Marc Michaud. For 15 years this fan publisher has issued short studies, neatly printed but usually stapled booklets, emphasizing the work of Lovecraft and his circle (see Newsletter 188). If you've an eldritch proposal, submit it. See also magazines section. Oxford University Press, 200 Madison Avenue, New York, NY 10016 No response. Huge backlist covering almost every subject, with legend ary strength in literature (the Oxford Companions, etc). Occasional works dealing with fantastic literature or utopian studies, such as Franklin's War Stars (1988). Routledge, 29 W. 35th St, New York, NY 10001 No response. This is an imprint of Routledge, Chapman & Hall, an Anglo American firm that absorbed Methuen. Also distributes the British line of Verso trade paperbacks. Strong in literary criticism, philoso phy, film studies, social sciences, feminist studies, often with what I'd judge to be a leftwing emphasis. Both American and British authors are featured St.Martin's Press, 175 Fifth Avenue, New York, NY 10010 No response. The Scholarly & Reference division has issued many works, often British in origin, emphasizing history and criticism. Scarecrow Press, Box 4167, Metuchen, NJ 08840 Norman Horrocks. History, criticism, bibliographies, indexes, strongly marketed to libraries. Send outline, sample chapter, background details.


SFRA Newsletter, 190, September 7997 27 Southern Illinois University Press, Box 3697, Carbondale, IL 62902 Richard D. DeBacher. History, criticism, author studies, college texts. Pub lisher of the Eaton conference papers, now issued by Georgia. Send outline, sample chapter, vita and analysis. Eric Rabkin is an advisor. Starmont House, Box 851, Mercer Island, WA 98040 Ted Dikty. The Starmont Reader's Guides are monographs devoted to sci ence fiction, fantasy and horror authors. Roger Schlobin is the series editor and proposals should be sent to him. Contrary to reports there is no set limit to the length of these guides. The Starmont Studies in Liter ary Criticism is a longer format series of possible interest to academic writers. A catalog is the best way to gauge the scope of the 125 books in print and 50 in production that make-up the Starmont line. Dikty should be queried directly for books other than the Reader's Guides. Twayne Publishers, 866 Third Avenue, New York, NY 10022 Well known for their long established, generally sound, consensus author monographs in the U.s. and English author series (TUSAS, TEAS), a number of which have dealt with category fiction and mainstream authors of fantastic literature. Twayne's parent, G.R. Hall, occasion ally publishes a reference work devoted to SF. Both imprints became part of Macmillan in summer 1991 and moved from Boston. University of Georgia Press, Athens, GA 30602 Karen Orchard. Has taken over from Southern Illinois the Eaton confer ence volumes edited by Slusser & Rabkin, the first to be issued in fall 1992. Getting stronger in history, criticism, author studies, such as Thomas Roberts, The Aesthetics of Junk Fiction (1990). University of Illinois Press, 54 East Gregory Dr, Champaign, IL 61820 Ann Lowry. History, criticism, author studies. Send outline, sample chapter. Other publishers you might consider include Bowling Green University Popular Press, Continuum/Crossroads, Facts on File and perhaps the fan presses, such as Advent: Publisher and Underwood-Miller. Although fantas tic fiction, especially SF, is still taught fairly widely in the U.S., textbooks designed specifically for such classes are uncommon because of a market perceived to be too small. Muriel Becker's evaluative survey in my Anatomy of Wonder (3d ed, 1987) shows what was available as of five years ago. If you're contributing to an edited book and receiving payment, normally a flat fee, ask for half the fee upon signing a contract, the balance upon receipt of an acceptable manuscript (not months later upon publication), and a copy of the published book. Such requests should be part of the written agreement, not that you have much recourse against the publisher if they don't honor the agreement. Getting some of your money up front at least partially compensates you if the book never sees print.


28 SFRA Newsletter, 90, September1991 II. Periodical Markets Although most articles, interviews and bibliographies dealing with au thors or themes strongly associated with fantastic literature appear in one or two dozen journals or fanzines, there is considerable scattering, as Hall's reference index clearly indicates. An article on SF film, for example, might appear in a specialized film journal known mostly to its subscribers. Regard less of your interests, take some time to sample the standard guide, Maga zines for Libraries, ed. by Bill and Linda Katz (Bowker, 6th ed, 1989). More than 6,500 entries are included, from general interest to extremely special ized magazines, 2,000 new to this edition. More than 130 general subject sections are included, with a more detailed subject index, and of course a title index. Most magazines have similar guidelines: double-spaced text in black ink on letter-sized white paper, 1-1 1/2 inch margins, using a clear, dark ribbon (be sure your dot matrix printout is clear and dark). If you submit your text on a diskette, inquire to insure that it's usable and compatible by the pub lisher. Include return postage or international reply coupons for a reply, and/ or tell the editor to discard the MS if not wanted. End notes, if used, are almost always preferable to footnotes. Follow the journal's style sheet, if any, or the current MLA style guidelines. An abstract is useful (Science Fiction Studies is the only journal that includes abstracts, a practice I wish other academic journals would adopt), and can be included with a letter of query, as you would when submitting a pro posal for a conference paper. Unless otherwise indicated these guidelines apply to all publications: only one copy of the MS need be submitted; sub missions are not refereed; copyright is in the author's name, with the maga zine acquiring first serial rights only; submissions are not paid for except in copies or offprints, as noted. Burroughs Bulletin, ed. by George T. McWhorter. Burroughs Memorial Collection, Univ. of Louisville Library, Louisville, KY 40292. Quarterly, 3640 pages/issue. Circulation: 500. Sample issue, $7. Each issue focuses on one Edgar Rice Burroughs book. Academic and general articles (2500-3000 words), interviews, bibliographic essays, book and film reviews are used. Query first. B&W and color reproductions of art and photos on coated stock. Copyright retained by ERB, Inc. Reporting time 6 weeks, 3 months to publ ication. 10 copies furnished.


SFRA Newsletter, 190, September 1991 29 The Dark Man: The Journal of Robert E. Howard Studies, ed. by Rusty Burke, c/o Necronomicon Press, 101 Lockwood St, West Warwick, RI 02893. Annual. 40 pages/issue. Circulation: 500. Sample issue, $4. 50. Scholarly and general articles (about 5, 1000-5000 words), bibliographic essays, book reviews. Request style sheet. Copyright normally retained for one year from publication. Reporting time 3 weeks, up to a year to publi cation. 2 copies furnished (1 for reviewers). Extrapolation, ed. by Donald M Hassler, English Dept, Kent State University, Kent, OH 44242. Quarterly. 90-100 pages/issue. Circulation 1000. Sample issue, $5. Refereed. Scholarly essays on SF and fantasy, 67 per issue, 3500-4000 words, 45 book reviews (commissioned), about two biblio graphic essays per volume (4 issues). Submit 2 copies MS. Copyright re tained by KSUP, but permission to reprint normally given. Reporting time 8 weeks, 15 months to publication. 6 copies furnished. Fantasy Commentator, ed. by A. Langley Searles, 48 Highland Circle, Broxville, NY 10708-5909. Semi-annual. About 76 pages/issue, offset from 8 1/2 x II inch typescript. Circulation: 550. Sample, $2. 35 articles, 3000 words and up (longer articles have run serially), emphasizing history of SF and fantasy; 26 book reviews, 700-3000 words, both current and older titles worthy of revival; 25 poems, 50 lines or fewer, with sonnets favored. Aimed at serious readers, but clarity and avoidance of jargon essential; see an issue for preferred style. Query only if contribution is more than 7000 words. Contents copyrighted in editor's name; apply for individual copyright. Reporting time 12 weeks, 3 1/2 months to publication. 2 copies. Foundation: The Review of Science Fiction, ed. by Edward James, SF Foundation, Polytechnic of East London, Longbridge Road, Dagenham, Essex RM8 2AS, England. 3 issues/year. 120 pages/issue. Circulation: ca. 1000. Sample, $6 (cash or money order}. Serious articles on all aspects of SF and occasionally fantasy for the general or academic reader. 56 articles, 50006000 words typically, sometimes longer. Many book reviews, 1000-3000 words, and many letters. Submit IBM compatible diskette with paper copy. Reporting time 4 weeks, about 6 months to publication. 2 copies. The Horror Fiction Newsletter, ed. by Gary W. Crawford, 4998 Perkins Road, Baton Rouge, LA 70808-3043. 6 issues/year. 7 pages/issue. Circu lation: 150. Sample, $1. News and reviews of the fiction, poetry and schol arship. About 10 book reviews, averaging 500 words, plus news in a typi cal issue. Query first. First serial rights only. Reporting time 1 week, 3 months to publication. 1 copy. Published since July 1989. An announced semiannual, Horror Fiction Studies, was cancelled.


30 SFRA Newsletter, 90, September1991 JFA: Journal of the Fantastic in the Arts, ed. by Carl B. Yoke, 1157 Temple Trail, Stow, OH 44224-2238. Quarterly. 96+ pages/issue. Circulation: ca. 300. Sample, $7. Refereed. Since summer 1991 published directly by International Association for the Fantastic in the Arts (lAFA membership benefit). Coverage includes all types of fantastic literature, drama, music and art, often far removed from category fiction or film. Issues typically include about six articles, 3000-5000 words, with some issues devoted to special topics, a few book reviews, occasional interviews and illustrations. Query recommended for all but articles. No author copyright. Reporting time 10-16 weeks, 6+ months to publication. 3 copies. Lovecraft Studies, ed. by S. T. Joshi, c/o Necromonicon Press, 101 Lockwood St, West Warwick, RI 02893. Semiannual. 40 pages/issue. Cir culation: 750. Sample, $4.50. Scholarly studies on life, work and thought of Lovecraft; secondarily, studies on his relations with his predecessors and contemporaries. Typical issue contains five articles, 1000-8000 words, three book reviews, 500-1500 words, brief notes. Copyright with journal for one year, then reverts to author. 2 copies. Monad, ed. by Damon Knight, 1645 Horn Lane, Eugene, OR 97404. Irreguldr. First and only issue (as of July) published 1990. Essentially a market open only to professional SF writers and for writers. Knight gener ously notes in his editorial that "Others, including fans and academics,are welcome to read what we say." He claims he isn't rigid in excluding all save SF writers, but this is a decided longshot. Listed for completeness. Necrofile, ed. by Stefan Dziemianowicz, S. T. Joshi and Michael Morrison, c/o Necronomicon Press, 101 Lockwood St, West Warwick, RI 02893. Quarterly. 24 pages/issue. Circulation: first issue summer 1991. Sample, $4. Approximately a dozen commissioned reviews of horror and fantasy fiction, related nonfiction, mostly originals, a few reprints, 500-3000 words. Ramsey Campbell will contribute a column. Listed for completeness. The New York Review of Science Fiction, ed. by Kathryn Cramer (fea tures), David Hartwell (reviews), Dragon Press, Box 78, Pleasantville, NY 10570. Monthly. 24 pages/issue. Sample, $2.50. Cire. ca. 1000. Reviews and essays devoted to SF, fantasy and horror literature. About five articles (1000+ words), 810 book reviews (500+ words). Query first. Macintosh MS Word diskette welcomed with paper copy. Reporting time 25 weeks, 13 months to publication. $25/essay, $1 O/review.


SFRA Newsletter, 190, September 1991 31 Peake Studies, ed. by G. Peter Winnington, Les 3 Chaseurs, 1413 Orzens, Switzerland. Semiannual. 40 pages/issue (frequency and length may vary slightly). Circulation: ca. 100. Sample, free. Three to four articles, up to 6000 words, plus 12 reviews. Devoted to life and works of Mervyn Peake (1911-1968). Quantum-Science Fiction & Fantasy Review, ed. by D. Douglas Fratz, 8217 Langport Terrace, Gaithersburg, MD 20877. 3 issues/year. 36 pages/ issue. Circulation: 1500. Sample, $3. Called Thrust until 1990, this Hugo nominated magazine is aimed at readers, fans and professionals. 45 articles, 3000-5000 words, 12 interviews, 15-20 book reviews, illustrations, 1/10 to 2/3 of 8 1/2 x II inch page. Request style sheet. Reporting time 28 weeks, 26 months to publication. 12rt/word on publication plus 1 copy. Riverside Quarterly, ed. by Leland Sapiro, 807 Walters, #107, Lake Charles, LA 70605. Irregular. 6472 pages/issue. Circulation 1100. Sample, $2. Emphasizes post 1950 SF, with occasional looks back, for the general reader, fan and/or academic. 35 articles, book and film reviews, poetry and illustration, occasional short fiction. Reporting time 2 weeks, 12 months to publication, 4 copies. Science Fiction Chronicle, ed. by Andrew I. Porter, Box 2730, Brooklyn, NY 11202-0056. Monthly. 36-44 pages/issue. Circulation: 6000. Sample, $2.75. Fantastic fiction news magazines for fans and professionals, includ ing market reports, occasional interviews, many brief commissioned book reviews, illustrations (color covers). Query. Reporting time 36 weeks, vari able to publication. 3rt/word upon publication + 1 copy; $100 for covers + 10 copies. Science Fiction Eye, ed. Stephen P. Brown [Asheville, NC as of Aug 91); Semi-annual. Variable length, ca. 100+ pages. Circulation: 3000. Sample, $5. General readers and fans, eclectic coverage. 56 articles, 30008000 words, occasional interviews, book reviews, illustrations. Query first and request style sheet. Reporting time 2 weeks, 3 months to publication. 4 copies. Science Fiction Studies, ed. by Istvan Csiscery-Ronay, English Dept, DePauw Univ, Greencastle, IN 46135-0037 (see recent issue for other 3 editors). 3 issues/year. Ca. 120 pages/issue. Circulation ca. 1000. Sample, US$4. Refereed. History and criticism of SF and utopian fiction, excluding


32 SFRA Newsletter, 90, September1991 fantasy. "Essays should make some general (and preferably theoretical) point, though those more narrowly focused will be considered for the Notes section." Rigorously edited for an academic audience, a typical issue in cludes six articles, 3200-7500 words, about ten commissioned book reviews, occasional bibliographic essays and interviews, and 1000-3500 word pieces called Notes. Copyright with journal for one year, reverting to author. Request style gUidelines with SASE. Reporting time 46 weeks, 26 months to publication. 20 offprints. Studies in Weird Fiction, ed by S. T. Joshi, c/o Necronomicon Press, 101 Lockwood St, West Warwick, RI 02893. Semiannual. 40 pages/issue. Circulation: 750. Sample, $4.50. Scholarly studies on weird fiction (horror, supernatural, fantasy) subsequent to Poe; theoretical articles on the nature and scope of weird fiction. Five articles, 1000-8000 words, 4 book reviews, 500-1500 words, brief notes. Copyrighted by journal for one year, revert ing to author. Reporting time 3 weeks; 6 months to publication. 2 copies. College English, ed. by Louise Smith, 1111 Kenyon Rd, Urbana, IL 61801. 8 issues/year. 108 pages/issue. Circulation: 18,000. Sample, $5. For college English instructors, the articles emphasize pedagogy, compara tive literature and critical theory. Four articles, 7500 words maximum, com missioned book reviews, poetry, letters. Two copies of MS. Reporting time 3-4 months, 6 months to publication. 2 copies. No responses were received from these journals, which have published occasional articles dealing with fantastic literature: Journal of Popular Culture, ed. by Ray B. Browne, Popular Press, Bowl ing Green Univ ., Bowling Green, OH 43403. Modern Fiction Studies, ed. by William T. Stafford, English Dept, Purdue University, West Lafayette, IN 47907. Twentieth Century Literature, ed. by William McBrien, Hofstra Univ. Press, Hemstead, NY 11550. Consult the Katz magazine guide mentioned at the beginning of this section for other candidates. If you know of any significant markets that were omitted from this survey, please write me with complete details. Neil Barron


SFRA Newsletter, 190, September 1991 33 Editorial Matters In July, we acquired a flatbed OPTICAL SCANNER which will assist us in reducing the amount of time spent in keyboarding reviews into the com puter. We discovered, however, that there are some limitations as to the typefaces it can read accurately. If possible, please send us copy meeting the following criteria: 1. Use 8 point (or pica) type or larger; either single or double space is readable with type that size or larger. 2. Use ragged right for your lines; do not use right justify. When you use right justify, it is usually necessary to hand-remove the extra spaces be tween words on a line-by-line basis. 3. If you send copies, please make sure your copy machine is making clear, dark black but crisp letters. 4. Dark, letter-quality dot-matrix printer output is readable. Laser print out is preferable as it causes the fewest corrections. Ink jet usually doesn't read out on the scanner. Disks for DOS are fine, any size, in any word pro cessor language. We are happy to return any disks to the senders. 5. Do not use italics in any typeface. The scanner may not read them. please underline titles in the old-fashioned way, being sure the underline is low enough so that it does not touch the bottom of the letters. Another area, bibliographical data, also causes unnecessary problems. The bibliographical information is extremely important to readers. You can save us many hours of searching (including an eight mile round trip to the Mesa Library) by leaving nothing out-specially the ISBN number, price, or publisher's address. The ISBN number is sometimes on the hard cover dust jacket or back cover of a paperback, or sometimes on the copyright page. Occasionally, publishers are omitting an ISBN number because of long delays in acquir ing them. In those instances, just insert within brackets [no ISBN included] and it will save a search. If no price is available, insert that information within brackets. Include the place of publ ication [in brackets] if the pub lisher is a small press or a foreign press. This information is normally found on the copyright page. The addresses for small or foreign publishers are important since we mail them copies of the reviews that their books received. Thank you for your cooperation. We hate to nit-pick or sound fussy, but increased expansion of the Newsletter, soon-to-be SFRA Review, is making it necessary to be more efficient in the use of time. Betsy Harfst


34 SFRA Newsletter, 90, September1991 NON-FICTION Art for the Discriminating Viewer Amano, Yoshitaka. The Art of Yoshitaka Amano: Hiten. Tokyo: Asahi Sonoroma, Distr. by Books Nippan, 1123 Dominguez St., Unit K, Carson, CA 90746-3539, 1990, 134 p. $24.95 + $3.50 shipping, pb. 4-257-03229-4. This lavishly produced volume is Amano's fourth collection, and con tains 134 acrylic, watercolor, and pen and ink illustrations, including 98 in full color. Although published in paper covers, it is on excellent paper stock and has a wraparound jacket. The foreword is by author Yumemakura Baku, to whom the book is dedicated, and is printed in both Japanese and English. An afterword was written by Tatsuki and Lenore Kobayashi, who were Amana's translators when he was Artist Guest of Honor at the 1989 World Fantasy Convention in Seattle. "Hiten" may be literally translated as "Heaven's Flight" or, more famil iarly, as "angel" after a Japanese legend. Much of Amano's work is surre al istic, using vivid contrasts of color to enhance the imagery of the figures. His work is quite different from that of American illustrators, although not markedly Oriental. Amano himself says that he never knows whether his pictures will turn out to be Eastern, Western, or even Japanese at all. He looks upon himself as a painter of chaos, in a chaotic world. In form, much of his work is reminiscent of Art Deco styles; the illustrator he most closely resembles is Aubrey Beardsley, although Amano's work is bolder and brighter. His first work appeared in 1981, with his own original illustrated story for a Japanese SF magazine. He has since illustrated many stories, both SF and fantasy and both Western and Oriental, including some well known series. It's said that one serialized best seller owes its success to his illustra tions. For his work from 1983 to 1986, he was awarded the Japanese "Gal axy Award" at the Japan Sci-Fi Convention. In addition to illustration, he is also very active in animation and stage design. Although his color works are spectacular, the pen and ink sketches are more interesting, perhaps because the stark lines demand more from the observer's own imagination. The book is unusual in that it has very little text-less than two full pages. The very brief captions simply identify the work; the observer's own imagination must supply purpose and meaning. For this reason, and because of the relatively high price, this is an enjoyable book, but for a discriminating audience. w. D. Stevens


SFRA Newsletter, 190, September 1991 35 Earthly Paradise Boos, Florence Saunders, The Design of William Morris's "The Earthly Para dise". Edwin Lewiston, NY: Edwin Mellen Press, Box 450, 1991, ix + 530p. $79.95 he. 0-88946-993-4. Here is a book written for one of the best possible reasons. Florence Boos notes that important aspects of The Earthly Paradise were "consistently devalued or ignored" by Victorians and that later critics have all too often dismissed this four volume collection of narrative poems. The Earthly Para dise has received some serious attention from scholars in recent years, and Boos sets out to provide a full-length discussion. Her aim is to show that the work was not mere escapism (as the well-known "idle singer of an empty day" refrain suggests) but a very considerable poetic achievement and a di rect anticipation of Morris's later social thought. A brief biographical introduction suggests how The Earthly Paradise might reflect Morris's hopes and disappointments in the 1860s when the narratives were written. This is followed by an extended discussion of the "frame" and the seasonal pattern of the two dozen tales-a group of wan derers arrives at a distant city and over the course of a year, spring to spring, exchange tales (classical and medieval subjects) with their hosts. The second half of the approximately 400 pages of text discusses representative tales in detail. More than a hundred pages of appendix material gives a critical survey, an unpublished tale, an alternate draft of part of another tale, a chro nology of composition, a bibliography and index. Boos makes a compelling case for the complexity and the value of the poem its several levels of narration and audience resulting from the frame, the use it makes of its sources, and its fluency and musicality. At the same time, she maintains a healthy critical distance from, for example, a charac ter who is "seldom complex or forceful enough to sustain interest" or a tale less coherent than might be wished. The Earthly Paradise lacks the compres sion of lyric poetry and uses archaism of language as an intentional device. Boos recognizes this but her focus is upon the narrative level, where the "miniature amphitheatre of narrators and hearers" provides shading and subtlety in the elaboration of the historical, moral and psychological content. She sees The Earthly Paradise as a deep and serious expression of Morris's somewhat Stoic view of reality in 1870, which nevertheless included a clear expression of his belief in the power of love as the personal basis of what was to be his life's message-//one of the century's fullest most radical poetic expressions of secular communal faith.//


36 SFRA Newsletter, 90, September1991 The tales seleded for extended discussion in the second half of the book are drawn from categories suggested in a critical taxonomy (for which a tabu lar presentation would have been useful). Boos notes that such schemes can never be absolute. There is some overlap with the first half and there is scope for economy (for example, several sections on relationships to Keats and other nineteenth century writers might have been put together). The inclusion of full chapters on works not actually part of The Earthly Paradise as publ ished (The Life and Death of jason and "Orpheus and Eurydice") lends completeness (the question about "Orpheus" is why Morris did not use it). Given that the audience for this book will likely be rather specialized, a certain looseness of structure is not as significant as it would be in a book intended for a wider audience. For those of us who know something about Morris but whose reading of The Earthly Paradise has been superficial, Pro fessor Boos provides forceful and elegant arguments for knowing the poem better. A fine addition to Morris scholarship. For larger university libraries. Alex MacDonald Jung and Lessing Cederstrom, Lorelei. FineTuning the Feminine Psyche: jungian Patterns in the Novels of Doris Lessing. NY; Peter Lang, 1990. 241 p. $44.95. 0-8204-1047-0. After an a-feminist introduction to the Jungian structure of the psyche and to the individuation process, Cederstrom explores the availability and success of the individuation process for Lessing's protagonists from the early The Grass is Singing through the Canopus in Argos: Archives series. By dealing with The Four-Gated City with the Martha Quest series, and conse quently out of chronological order, Cederstrom reveals Lessing's shift from a Marxist perspective to a world-view which proposes that external, social change does not come about as a result of purposeful social action, but is more successfully instigated by an individual's self-examination and self knowledge. Such a shift is certainly behind Lessing's exploration of "innerspace" in Briefing for a Descent into Hell, Memoirs of a Survivor, and the Canopus in Argos: Archives series. Cederstrom's study provides an interest ing and a navigable map of inner-space as she records the Jungian and heroic journeys of Lessing's more successful protagonists in these novels. Cederstrom also indicates to some degree the failures of society which have demanded that any personal development take place in rebellion against or withdrawal from society, though this aspect of her criticism could have been strengthened.


SFRA Newsletter, 190, September 1991 37 Cederstrom's reading of Memoirs of a Survivor indicates both the strengths and weaknesses of her study. She argues that the "'world in which everything had broken down' is a symbolic portrait of the ego in a time of cultural failure. This breakdown is a result of the inability of society to provide a sense of wholeness, of connection with any principles beyond itself." She clearly articulates the connections one feels between Lessing's descrip tion of a disintegrating society and her protagonist's retreat to a set of psy chological rooms that abut her apartment. Cederstrom portrays Emily as a projection of the middle-aged survivor who, through watching Emily go through the painful process of adolescence, is able to reconcile herself to her own development. This accounts for the passive, fascinated role of observer that the survivor plays in Emily's life and explains as well Emily's sudden, inexplicable, and not altogether surprising appearance. What Cederstrom's skillful psychological reading of Memoirs ignores, however, is the literal, troubled depiction of society and the external reality of Emily. I would have appreciated a bit more comment on Emily's social indoctrination into womanhood, or on the scars left by any individual who endures the "personal" scenes that occur in the abutting rooms in which a mother ignores, upbraids, complains about her daughter in her monotonous comment about the traps of motherhood. Cederstrom also needs to explore the utopian/dystopian tension in the novel: when the world falls apart, we do not all have (to risk a simplification) a set of rooms removed from time and space to which we can retreat. What, then, has the survivor survived? What are the costs, the terms of that survival? My dissatisfactions with Cederstrom's skillful exploration of the psycho logical elements in Lessing's fiction involves not quibbles with her readings, but necessary exploration of issues that are absent from her work. Once Cederstrom feels that Lessing has left her Marxism well behind, she seems to feel it "necessary to explore the troubled" relations Lessing describes be tween "inner-space" and the timeand space-bound world we are forced to inhabit. Cederstrom labels some of Lessing's work elitist, in that it suggests that "the inward quest is not successful for everyone." Cederstrom might also have added that not everyone can take several planned weeks off work to descend into madness in order to bring about a crisis and the subsequent individuation; nor, I think, does Lessing expect us to. On what terms, then, are we to read the psychological parables of her work? Cederstrom also gives an extremely unsympathetic (and to my mind unfeminist) reading of Summer before the Dark, as well as ignoring the "Free Women" segments of The Golden Notebook. Her study also stops at Canopus in Argos: Archives, and thus does not explore Lessing's return to more realistic modes of fiction in The Diary of Jane Somers or The Fifth Child. Finally, for a hook entitled


38 SFRA Newsletter, 90, September1991 FineTuning the Feminine Psyche, Cederstrom ignores many of the feminist adaptations of Jungian theory, particularly Demaris Wehr's Jung and Femi nism: Liberating Archetypes, and Lauter and Rupprecht's Feminist Archetypal Theory. Cederstrom's book should be useful to: those who want another gloss on Lessing's development, those interested in the feminist use of Jungian theory, those interested in Lessing's "inner-space fiction," and university libraries. Kathleen Wall Short-sheeting Alice Clark, Beverly Lyon. Lewis Carroll. Starmont Reader's Guide 47. Mercer Island, WA: Starmont House, 1990. 96p. $19.95 he. 1-557-42031-9; $9.95 pb. -42030-0. This is the first short, comprehensive treatment of Charles Dodgson's life and work since Richard Kelley's volume in the Twayne English Authors series, 1977. Clark's style is breezy and pleasant, and since much of the book's bibliography of criticism dates from the '80s, her book is at least theoretically more comprehensive. But it's much shorter (79 pages of text), and perhaps most of its faults may stem from that constraint. Clark covers, in separate chapters, Dodgson's life, the Alice books, The Hunting of the Snark,the Sylvie and Bruno books, the poems and other mis cellany, the writings on logic and mathematics, and Dodgson's photography. Unfortunately, each gets about the same space, so that the survey of criticism on the Alice books is disappointingly brief and general, while the treatment of Sylvie and Bruno seems tediously extended by comparison; the long dis cussion of Dodgson's poems is painful, though the treatment of his letters and pamphlets is entertaining. The discussion of his photography struck me as a curious bit of apologetics, oddly enough attached to a description of his mathematical and logical writings. Clark's bibliography is extensive, but a reader does not get the feeling that it is adequately reflected in the text. Critical interpretations of Alice are summarized on pages 17-18, for example, but no critics are named, and there are no notes. Clark's summary includes the lunatic fringe matter-of factly among the more credible commentators, then dismisses them all as "silly." Here is a sample from pages 17-18: Some critics have tried to make the Alice books into allegories .... one approach is to declare that Carroll was not the real author and then to extrapolate what the books are really about. In a recent effort,based on a word-frequency study of italicized words in


SFRA Newsletter, 190, September 1991 the Alice books and Queen Victoria's diaries, commentators claim that the true author was Queen Victoria and that the books reveal the torment of her wretched royal childhood: Father William thus represents Victoria's uncle, William IV .... [The psychoanalytic crit ics] argue that Alice, expanding and contracting in a womb like hall, is a penis .... The episode with the Duchess, the baby, and the Cook conceals a lesson in toilet training, with the sneezing symbolizing defecation-could it be masturbation? 39 I am aware that the "politically correct" stance for the literary commen tator these days is to regard every eccentric reading as privileged, and to maintain that none are intrinsically superior. Perhaps that accounts for Clark's mild-mannered rehearsals of patent idiocies, but her conclusion that all this merely "testifies to [the] continuing vitality" of the books doesn't help the student distinguish shit from Shinola. Clark does offer some consistent explication of Victorian manners and mores to help the student place the books in a socio-political context. Ob viously satirical passages are explicated in this way, and some analysis of Dodgson's humor is offered. But the treatment of the AI ice books is teasingly unsatisfactory, at least to this reader, and quite frankly I wasn't interested in much else. Sylvie and Bruno may make a good case study for the triumph of Victorian stuffiness over art, but the discussion is bound to be almost as repulsive as the books. I cannot understand why any person of taste would waste time on Dodgson's execrable "serious" poetry, no matter how illustra tive of Victorian convention it may he. The Alice books are all there is, and Clark's book fails to give them the really thoughtful treatment they deserve. The rest be damned. Bob Collins Honey, Is That You? DeLamotte, Eugenia C. Perils of the Night: A Feminist Study of Nineteenth Century Gothic. NY: Oxford Univ. Press, 1990. xiii + 352 p. $34.50 0-10505693-0. Skimming the eighteen-page bibliography at the end of this book, one realizes what a torrent of Gothic tales were written-and how much has been written about them, as we try to make sense of this formula-ridden, semi-reputable, but persistently vital branch of fiction. For the Gothic tale is not merely an early stage in the development of fantastic literature; it still is a viable form (Thomas Harris's The Silence of the Lambs, for example). DeLamotte has some well-informed, provocative things to say about Gothic fiction's enduring power.


40 SFRA Newsletter, 90, September1991 To begin with, she locates the disquiet that animates the Gothic at a more immediate level than phantom nuns or ruined castles. "Gothic" and horror fiction are not quite synonymous, though in many Gothic stories the heroine seems to be menaced by supernatural power. As might be expected from her book's subtitle, De Lamotte relates these threats to woman's unstated awareness of her position in society, at the mercy of arbitrary, inscrutable male authority. The persistent threats DeLamotte finds in Gothic fiction may be contradictory: confinement (the heroine trying to escape from a space in which she is mysteriously trapped) or, alternatively or simulta neously, violation (the heroine trying to prote<;t a private space against a mysterious power that is trying to break in). Again, these disparate images show the position of women in patriarchal society, prevented from becoming truly aware of their identities in a world where they are unable to be full individuals or partners. By awakening a partial awareness of this condition, setting up false cat egories of action, then sweeping along to a "happy" conclusion, a Gothic writer can give readers catharsis that lets them accept things as they are. More perceptive and daring writers, however, can use the form of the Gothic to show characters who learn what they are trying to escape from and to. As DeLamotte says, it is difficult for a woman to learn how to say "1." Gothic fiction shows how difficult it is to get past the barriers that society creates and the timid self replicates. It also can encourage the struggle to climb past those barriers. To illustrate her point, De Lamotte uses a variety of examples, some fan tastic (Frankenstein, Melmoth, etc.) but most essentially non-fantastic (Pierre, The Marble Faun, jane Eyre, etc.). The climax of her argument is a long chapter on Charlotte Bronte's Vilette, in which the issues that concern DeLamotte are faced most openly. She is convincing in tracing fantastic and non-fantastic Gothic to a common source, even if that means, as her chap ter on Vilette proclaims, "Demystifying Women's Gothic." There may be other things going on in these works too, but DeLamotte convincingly demonstrates that what she sees is coiled at the heart of the action. The valuable, uncomfortable ideas in Perils of the Night make it worth your attention. DeLamotte's writing is sometimes lively, sometimes deadly, often so pithy that it must be read several times for full comprehension. For that matter, I recommend that you prepare for this book by looking over the works DeLamotte is discussing, for she alludes frequently to specific details that she seems confident dedicated readers will have instantly available for contemplation. Perils is a demanding book. Still, the subject is so fascinat ing and DeLamotte's perception so ferocious that readers are truly compelled to meet the book's demands. joe Sanders


SFRA Newsletter, 190, September 1991 41 Eccentric Overviews of Horror Movies Everson, William K. Classics of the Horror Film. NY: Citadel Press, 1990. 247 p. $15.95pb. 0-8065-0900-7. ________ More Classics of the Horror Film. NY: Citadel Press, 1990. 256 p. $14.95 pb. 0-8065-1179-6. These informal accounts were first published in 1974 and 1986, respec tively. Although both were preceded by Carlos Clarens 'definitive An Illus trated History of the Horror Film (1968) and have since been superseded by more critically oriented genre studies, they remain useful if idiosyncratic overviews of the horror movie medium. Classics attempts nothing less than a summary of the best horror films produced in the period that begins with Rupert Julian's The Phantom of the Opera (1925) and culminates with William Friedkin's The Exorcist (1974). For the most part, it follows the format of Citadel's celebrity film guide series, devoting individual chapters to approximately 50 films and general thematic sections to "Vampires," "Werewolves," "Old Houses," etc. The abundant reproduction of movie stills are the books true attraction. Everson has very little room for commentary, and he does not always use it to best advantage. Although his efforts to justify inclusion of little known or underappreciated films such as William Beaudine's Sparrows or Frank Wisbar's Strangler of the Swamp are instructive, his discussions of the bona fide classics run to the trivial. A typical example is his seven paragraphs on King Kong, which are devoted almost exclusively to discussion of the film's mangling at the hands of studio and television executives. Here, as else where, Everson automatically assumes the film's status as a classic, offering a good deal of ephemera about its production but little in the way of expla nation of its merits. Wherever possible, he uses his selections as a podium for advancing his own peculiar ideas about the negative value of sexuality or explicitness in horror cinema. More Classics is a more fulfilling book, precisely because Everson avoids most of the flaws that mar Classics. The text is divided into six major sec tions such as "Reassessments, "Rediscoveries," and "The Post-Son of Fran kenstein Boom," that permit discussion of individual films in a broader and more illuminating context. The second section, "Horror as Bonus-Horror in the Non-Horror Film," is invaluable for drawing attention to an entire subgenre of largely forgotten films produced during the 1930s that fall out side genre parameters yet are clearly informed by the aesthetics of horror. Consistent with his conservative tastes, Everson devotes only 40 pages to the glut of horror films produced in "The Last Decade" (1975-1985). Although


42 SFRA Newsletter, 90, September1991 there are some glaring omissions (no extended discussions of John Carpenter's groundbreaking 1978 film Halloween or Ridley Scott's 1979 science fiction variant on the old-dark-house theme, Alien), for the most part he has singled out the contemporary films likely to endure. His defense of Stanley Kubrick's 1980 adaptation of "The Shining" against its initial critical reception is particularly perceptive. Would that there was more discussion of this type throughout both books. Stefan Oziemianowicz Small but Powerful Garnett, Rhys, and R. J. Ellis, eds. Science Fiction Roots and Branches: Contemporary Critical Approaches. NY: St Martin's, 1990. xi + 210 p. $35. 0-312-03598-5. Every essay in this slender volume says something worth reading about science fiction, and every essay is readable. (I felt nervous about this when I realized that contributors included Darko Suvin and Stanislaw Lem, but the only essay I found really difficult was Robert Philmus's, and I found it so valuable that I worked through it twice.) Each contributor is both knowledgeable about and genuinely interested in science fiction; while each takes a different approach, the work as a whole fits together sensibly. Roots persuasively begins with Victorian fiction, rather than with Mary Shelley's Frankenstein. Darko Suvin looks at News From Nowhere, and usefully locates sources aside from an indignant response to Bellamy'S Look ing Backward. He shows that Morris's "refunctioning" of utopian ideology and issues call for further study on the process of "counterproject" writing. Stanislaw Lem brings new insights-some gleaned from personal experience of war-to Wells's War of the Worlds. He argues that the work not only survives but is more relevant now than when it was written. Lem demon strates that we now inhabit "Wells's prophesied world of change" which he foresaw in a period of smug stagnation. Rhys Garnett provides a fascinating look into Victorian imperialism, sexuality and ethics in his study of Dracula and the contemporary The Beetle, now deservedly ignored. The study of postwar (World War II, that is) sf begins on a less secure note. Patrick Parrinder's analysis of scientists in science fiction may hold true for British sf; but he claims to analyze the entire field, and includes some American writers in his general indictment of sf as buying uncritically into the scientific myth. His essay usefully separates science from scientism, but


SFRA Newsletter, 190, September 1991 43 cites Hirsch's 1958 study of scientists in sf as the only such work, ignoring those who have built upon and restructured it. His sweeping criticism of sf as failing either to show scientists at work or to be written by scientists al lows him to condemn virtually every story ever written. (He barely approves of Benford's Timescape.) In spite of my occasional indignation, I found arguing with Parrinder more useful than agreeing with a less informed and opinionated writer. Jerzy Jarzebski analyzes text as code in Lem's Memoirs Found in a Bath tub, exploring a labyrinth of meaning in a world without meaning. He uses semiotic techniques, but the essay is not forbiddingly technical. Tom and Alice Clareson, who are working on the first full-length analysis of John Wyndham's work, explore feminist themes and problems in several of his works, most notably the (often ignored) Trouble with Lichen. R. J. Ellis's essay analyzes contrasts and tensions in Dune, looking to Herbert's equally ambiguous and conflicted sources in Rachel Carson and Paul B. Sears. While Carson and Sears sought consensus, Herbert exploits generic expec tations to produce "apocalyptic ecologism" with no coherent plan to avert disaster, which he attributes to the incoherence of Dune. Robert Philmus provides a densely written and stimulating analysis of Le Guin's The Dispossessed. Tying Le Guin's use of language, structure, phi losophy and plot together, he impressively demonstrates the power of intertextual links disclosed by close reading. This is the heart of the book; the footnotes alone exceed the length of some of the other essays, and the sentences wind upon themselves in often maddening fashion, but the re wards from disentangling them are more than merely worthwhile. The third part of the book provides "Contemporary Feminist Responses." Marlene Barr looks at "Men in Feminism," comparing Piercy with Thomas Berger. While she provides some useful arguments, a reader could argue in return that few readers, feminist or not, would share her view of Berger's fiction. Jenny Woolmark creatively examines Mcintyre's Superluminal, questioning its problematic stance. Anne Cranny-Francis, whose highly valuable Feminist Fiction (1990) is not cited here, takes on Charnas's Walk to the End of the World. She provides an unified analysis of the book's char acters and structure, showing how they contribute to the reader's tacit analy sis (deconstruction) of contemporary society. Though the work may seem overpriced and lacking apparatus-the in dex is minimal, and no bibliographies accompany the essays-it should be considered essential for every library, and will certainly be used by all serious sf scholars. Martha A. Bartter


44 SFRA Newsletter, 90, September1991 Useful Essays in a Book Without Focus Jones, Libby Falk and Sarah Webster Goodwin, eds. Feminism, Utopia,and Narrative. Knoxville: Univ. of Tennessee Press, 1990. x + 222 p. $27.50. 0-87049-636-0 This collection is quite as important for what it does not do as for what it does. The editors note the urgency of feminist issues and the strong differences of opinion. They then allow the contributors to transcend questions that often divide feminists: Is righteous anger sufficient proof of feminist rigor? Is it necessary? Must fiction be postmodern to be feminist? Can a man write feminist criticism? The book aims to "present a body of scholarship in progress, one that contributes to a history of feminist utopian narrative and traces utopian discourse in a number of contexts." The aim is generally fulfilled. "Narrative" is offered as the key, the linkage of reader, text and context, though rarely discussed, underlying all the essays. But narrative is not de fined, nor is the problem of genre discussed. All the contemporary texts discussed here have been claimed by SF, even those by "mundane" writers. SF provides specific advantages for utopian writers but also carries underlying assumptions, which too often get taken for granted here. This deficiency offsets Goodwin's useful overview of diverse points of view of feminism and utopia with Marlene Barr's much less successful at tempt to place contemporary feminist fabulators in the Victorian tradition. Barr mentions a number of contemporary writers but discusses only Sargent's The Shore of Women, failing to illuminate or even mention its role-reversal problems. Several essays provide sociohistorical overviews of where we came from, with varying success. Subjects include an 1832 French text, 18th cen tury female autonomy, several now ignored Victorian works, and the works of Stowe and Gilman, contrasting them with Piercy's Woman on the Edge of Time. Carol Farley Kessler compares two American utopias, commenting that "Theorists of utopia see the genre less as a specific blueprint for change than as a reflection of social lacunae." She discusses ways that women's loss of cultural permission to support women leads to the abandon ment of marriage as an institution in the feminist fictions of today and often the abandonment of the male sex as well. Ellen Peel usefully contrasts utopianism and skepticism, opting for some of each, while using Wittig's Les Cue'rille'es, Lessing's Marriages Between Zones Three,Four, and Five and Le Guin's Left Hand of Darkness to chal-


SFRA Newsletter, 190, September 1991 45 lenge both utopian assumptions of perfection and contemporary conditions. Kristine Anderson examines all-female utopias and their uneasy relations with traditional sexuality and male-female relations. Libby Falk Jones cites Gearhart's definition of "feminist utopian fiction," which "sees men or male institutions as a major cause of present social ills," among other points. Only three of the 11 works she discusses fit this definition, with Piercy's Woman at the Edge of Time best demonstrating utopia as an emerging form. Covering a number of texts, Peter Fitting claims that fictional utopias should be evaluated for plausibility and effectiveness (as vision or warning) and laments the passing of the active and plausible utopias of the 1970sespecially those of Russ and Piercy-and the rise of ambiguous or dystopian (and less plausible) works of the '80s, particularly criticizing Elgin and Atwood. He is explicit about SF: claiming that "dreams are not enough," he defends the "Political dimension" against "reading strategies which obscure or deny the 'literal' meanings of such crucial works." Two women respond to Fitting. The freedom given the contributors by the editors leads to an unfocused discussion, with each essayist writing from her or his own, often unstated perspective. Feminist utopian fiction questions the static, hierarchical model of sociopolitical perfection described by More, Bellamy and their company. What properly replaces this model is less clear. Where patriarchal utopias leap fully formed from the inventor's brow, feminist utopias apparently must be talked to birth. The editors fail to offer spe cific, useful definitions for often confused terms like "sex," "gender," and "feminism." And since little scholarly apparatus is developed, readers must decide for themselves not only why but how to read this book. While I found each essay interesting, I have no idea how or why I would use the book, which lacks a unity and a focus. Only large university libraries need con sider. Martha A. Bartter Arthurian Encyclopedia Lacey, Norris J.,ed. New Arthurian Encyclopedia. NY: Garland Publishing, April 1991. xxxviii + 577p. $65.00,0-8240-4377-4. In line with the continuing boom in Arthurian studies of all sorts, Gar land has issued a new edition of its very handy Arthurian Encyclopedia, which first appeared in 1986. The new edition deals with Arthuriana of all periods, not just the medieval, and reflects the growing popularity of Arthurian fiction in modern literature. It covers a number of subjects such as film, poetry, archaeology, and place names as well as literature. The


46 SFRA Newsletter, 90, September 1991 entries have been expanded from approximately 700 to 1200, written by 127 contributors, and although they continue to be compactly written many of them are much longer than in the first edition. The entry on games, for ex ample, has grown from a short paragraph to over three long columns. Al most every entry is followed by a short list of references updated to 1990. The editors include a selected bibliography, a list of entries, and a new gen eral index of authors, titles, and subjects which makes it much easier to track down titles. Some sacrifice in quality has accompanied the increase in coverage. The second edition is not as well printed as the first and is in two columns in smaller type. The paper, though acid free, is not as heavy and the black and wh ite illustrations are often muddy. The new edition is also oversized and will not easily fit on library shelves. However, any general reader in terested in the Arthurian tradition, and particularly in twentieth century ver sions of the legend, will want to own it. Lynn F. Williams Well Documented Study Mancoff, Debra N. The Arthurian Revival in Victorian Art. NY: Garland, 1990. xii + 358p. + color & b & w plates. $81. 0-8240-7040-2. In her acknowledgments Mancoff "remembers" her dissertation adviser who first suggested to her the topic of the "phenomenon of Arthurian interest in the Victorian era." The title of her dissertation was The Arthurian Revival in Victorian Painting (Ann Arbor: University Microfilms, 1982), but the extensive acknowledgments and a reference to the writing of the manu script as a Faculty Fellow at the Newbery Library indicate that the Garland book is not just the publication of the original dissertation. The art that initiated the Arthurian revival was the decoration of the Queen's Robing Room in the new Palace at Westminster, constructed after the destruction of the palace that had served as the royal residence since before the Norman Conquest. A national competition was held, and the artist chosen was William Dyce, noted for his paintings of biblical subjects. Dyce submitted five designs, of which only one, a watercolor design for "Piety," was rejected. Mancoff has used this design as a wraparound color illustration on the binding, and it is a so reproduced as the first of seven color plates, in an unpaginated appendix which includes 101 black-and-white reproductions. Mancoff's reading of the iconography of this painting, whose stated subject is the departure of the knights of the Round Table on the quest for the Holy Grail, emphasizes the inherent melancholy of this moment of colorfu I pageantry, particu I arly what she sees as Arthur's "i ntuitive real iza-


SFRA Newsletter, 190, September 1991 47 tion that the quest would lead to the dispersal of his table." Arthur is de picted as turning away with bowed head from Guinevere's farewell to Lancelot, with his right hand extended toward the couple in an ambiguous gesture. Her reading diminishes the allusiveness of Dyce's conception and introduces an additional layer of didacticism in an art, much of which is already didactic in concept. This aspect is emphasized by the reproduction of the color paintings in black and white, and the pre-Raphaelite paintings, distinguished by their use of color, are especially diminished by this. Although the Arthurian spirit reflected the spirit of the Empire in the age of Victoria, Mancoff makes it clear that the art was inspired not by native sources but by German and Italian works. She also writes of the role of the government in the sponsorship of the first works of the Revival but without reflecting upon the consequences of this for the quality of the art. It is, how ever, ironic that while much of the work of this first period is by artists of lesser rank, acclaimed for their skill in the techniques of "high Art," the later work was produced by popular illustrators (Rackham, Beardsley, Jessie M. King, Walter Crane) who escaped the earlier didacticism and conceived their work in more striking visual terms. This may account for the fact that Mancoff's discussions of the popular artists in her final chapter, a period she describes as "no more than a faint echo of the resonance of the full Revival," often reveal a fresher and, apparently, more spontaneous reaction to the art. The book contains extensive critical documentation (notes, bibliogra phies, an index) and something of the weighty style of the original disserta tion treatment. In spite of these characteristics-which may prove formi dable obstacles to the reader interested more in the art than in the literary and historical sources--The Arthurian Revival in Victorian Art is a detailed, well documented study of a phenomenon that Mancoff discusses as a reflec tion of the "idealistic spirit of the Victorian age." Walter Albert Arthur's Enchanting Realm Matthews, Caitlin and John. The Arthurian Book of Days. NY: Macmillan, 1990, 192p. $19.95. 02-606675-0. Descended from medieval Books of Hours, Books of Days became popular during the nineteenth century. They commemorate past events and offer quotations and advice to entertain and instruct throughout the year. This is the format that Caitlin and John Matthews adapt for their latest pub lication on the Arthurian legend, and the result is an attractive and reason ably priced book that is sure to please Arthurian enthusiasts.


48 SFRA Newsletter, 90, September1991 For each day of the year an episode from some Arthurian tale is briefly summarized; subsequent episodes from the same tale may follow, either on successive days or at some later date, as is deemed appropriate. The text is presented on elegantly decorated pages, beige in color like medieval parch ment, and it is amply illustrated with beautifully colored illuminations from medieval manuscripts. They range in size from a couple of inches to full page. Since few Arthurian events are linked to specific dates, the authors have great freedom in assigning stories; and although they have "chosen special days with an eye sensitive to the general chronology of events and to the nature of the material," there is, they admit, "a certain arbitrary determina tion of commemoration." The same observation might be made about the chronology of events in Arthur's realm itself, which they append as a guide. To compress the narratives to fit the limited space available for each date, detail is omitted, and inevitably the subtlety of the original is lost, par ticularly if it is a sophisticated romance. Moreover, the scattering of differ ent episodes from one story throughout the year can confuse, for while each episode indicates where it is continued, it does not reveal where preceding adventures may be found. The compensation for this compression is the number and variety of tales offered in a format that recalls the interlacin8 found in medieval prose romances, even if the patterns are less distinct. Academics will also grumble that the sources for specific tales are not identified, for the authors have ranged widely for their material and the short bibliography is less informative than it might be. More disquieting are the occasional modifications to sources. Despite the claim that such changes abide by "the spirit of the originals," one can discern no advantages in, for example, changing Gawain's winnings in Sir Gawain and the Green Knight from deer, boar, and fox to hares, stag, and boar; indeed replacing the fox with a baCH shatters the symbolism of deception which is so central to the story. Such limitations will not disturb non-specialists, however, and even specialists will find much to enjoy in the beautiful illustrations and the wide range of material that is made so conveniently accessible. This is an enjoy able book that tempts one to browse and that offers a wealth of tales from the world of Arthurian chivalry. Strongly recommended to all with an interest in the legend, and very good value for the money! Ray Thompson


SFRA Newsletter, 190, September 1991 49 Ideological Straitjacket Monle6n, Jose B. A Specter Is Haunting Europe: A Sociohistorical Approach to the Fantastic. Princeton, N. J.: Princeton University Press, 1990. $24.95. ix+ 177p. 0-691-06862-3. Using the introductory sentence of the Communist Manifesto, "A spec ter is haunting Europe-the specter of Communism," as the source for his title, Monle6n refers to Marx's specter as "an image of the fantastic," claim ing this "cultural metaphor" demonstrates the extent to which "imagery of the fantastic was shaped by and gave form to concrete problems." Monle6n's linking of the discourse of the fantastic and the political is essen tial to his reading of the historical, social and literary European landscape of the 18th and 19th centuries. He sees the Manifesto as retrieving the spec ter haunting bourgeois society-the invasion of the cities by the lower classes-from the marginality to which that society had consigned it and "openly proclaim[ingl the identity of the monster." It is unfortunate that Monle6n's thesis is an ideological straitjacket since his discussion of Gothic literature and the fantastic is a subtle, often illuminating reading of the fiction. Yet even this discussion is, finally, compromised by his conclusion that the Gothic period is the "first stage of the modern bourgeois society" in which basic conflicts between reason and unreason are narrowly defined as the struggle between the haves and the have nots. While the discussion of the fantastic in the Gothic period is supported by numerous textual references, the shift toward a political reading of the subject is accompanied by a dismissal of the literary texts to an increasingly marginal position. The jacket copy refers to the "new" and "compelling" readings of Dracula and The Turn of the Screw, when, in fact, the works are only referred to in passing to validate the sociopolitical analysis. After a chapter on the tardy development of the fantastic in Spanish I it erature, a chapter which reads like an excerpt from a doctoral dissertation, Monle6n's study ends on the threshold of the twentieth century with a brief epilogue. This period, he asserts, will be haunted by the "new paradox" of the "destruction of representation through representation." This is, however, a subject for "another story," suggesting that a sequel to the present book may be forthcoming. Monle6n has trivialized a complex subject by removing its ambiguities and substituting for them a political reading in which literary documents do not generate ideas but are selectively used to defend them. The bibl iogra phy contains only five of the historical and critical references included hy


50 SFRA Newsletter, 90, September 1991 Gary K. Wolfe in his annotated listing in Barron's Fantasy Literature (Garland, 1990). Even allowing for the European focus of Monleon's study, this ignores the fact that much of the most significant criticism of fantasy literature has been done by British and American critics. Occasionally, A Specter Is Haunting Europe opens out on other concerns that Monleon buries in textual asides. One of these is the Gothic roots of the detective novel, a subject to which many modern critics attach little importance because of their belief that the detective novel is founded in the ratio nal with only peripheral connections to the irrational. Certain of Monleon's comments do, in fact, point up the role of the irrational in the history of the genre and they could serve as the basis for a wider study of the irrational in genres other than the fantasy. Monleon's book should be consulted for its chapter on Spanish fantas tic literature, and for its insights into the fantastic in Gothic fiction. The at tempt to wed Marx and the fantastic is a dogged but unpersuasive attempt to limit the fantastic to class struggles. While no one will deny the importance of historical studies of literature, A Specter Is Haunting Europe may not strike many readers as a valid reorientation of the fantastic. Walter Albert A Bat-Thetic Tribute to a Popular Icon Pearson, Roberta E. & William Uricchio, eds. The Many Lives of the Batman: Critical Approaches to a Superhero and His Media. New York: Routledge, 1991. x + 212 p. $39.50.0-85170-275-9; $13.95 pb, -276-7. London: BFI Publishing. 0-85170-275-9, -276-7, prices lacking. This collection proposes to "provide a multifaceted perspective on one of the longest lived of American popular heroes, revealing the complexities of various aspects of the processes of Production and reception in multiple media." The volume opens with a historical survey of Batman and interviews with one of the comic's chief editors, Dennis O'Neil, and one of its major writers, Frank Miller, author of The Dark KNight Returns (a Hugo nominee). These pieces are sketchy and shallow, though Christopher Sharrett does press Miller on the homophobic and vaguely fascistic aspects of Batman. Much better is Eileen Meehan"s "'Holy Commodity Festish, Batman!': The Political Economy of a Commerciallntertext," which offers thorough and convincing discussion of how Warner Communications has used Batman to produce mutually supportive advertising for its comics, music and film in dustries. Countering critics who view popular culture as dominated by monolithic ideologies, she argues that simple profit seeking can generate a proliferation of content woven within such a closed system of material. This essay is easily the most solid and effectively argued.


SFRA Newsletter, 190, September 1991 51 Much worse are two dry, dull, and methodologically suspect social scientistic studies of the audience for Batman and comics generally. Another piece reconstructs the contemporary critical reception of the 1960s TV series, then interviews baby boomers about their memories of the show. Andy Medhurst argues in favor of a camp reading that liberates the sublimated homoerotic aspects, making them available for appropriation by a gay au dience. Critically lightweight, the essay is well written and very amusing. Jim Collins focuses on a "distinguishing feature of recent popular narrative, namely its increasing hyperconsiousness about both the history of popular culture in the current context." H is approach situates such narratives in a postmodern milieu and grants them a discursive and ideological complex ity traditionally reserved for works of "high" culture. The editors conclude with a critique of the political implications of Batman that is pointed if shallow, an analysis and conclusion that could have been presented in a third of the 30 pages devoted to it. This book suffers badly by comparison with Tony Bennett's and Janet Woolacott's exemplary study of James Bond, Bond and Beyond: The Political Career of a Popular Hero (Methuen,1987), which set a high standard for critical analysis of popu lar culture icons. Much of the problem is the fragmented and diffuse picture resulting from ten essays in contrast to the integrated synthesis achieved by Bennett and Woolacott. A diSjointed mosaic of materials and viewpoints, it's abysmally proofread, lacks an index, and cannot be recommended. Rob Latham Critical Pleasure and SF Cinema Penley, Constance, Elisabeth Lyon, Lynn Spiegel, & Janet Bergstrom, eds. Close Encounters: Film, Feminism, and Science Fiction. Minneapolis: Univ. of Min nesotaPress, 1991. xi+298p. $39.95. 0-8166-1911-5;$15.95pb,-1912-3. This collection is a reviewer's delight. Not only do I have the perfect excuse to read it and think about it, I then have the pleasure of letting other readers know about it and to tell you: buy this book. Whether you're interested in SF, SF film, film and film theory, feminist theory, good critical writ ing, or any combination thereof, there's something here for you. Not to mention the fact that the illustrations are plentiful and well chosen, from a shot of the mesmerizing False Maria in Lang's Metropolis, to rare stills from Liquid Sky, to Arnie Schwarzenegger in his (only) most convincing role as the cyborg/killer in The Terminator, to graphics from various Star Trek 'zincs and, as they SilY, much much more ....


52 SFRA Newsletter, 90, September1991 Most of the ten essays collected in this present volume first appeared in 1986 as part of a special issue of Camera Obscura entitled "Science Fiction and Sexual Difference." Camera Obscura: A Journal of Feminism and Film Theory is arguably one of the best academic journals devoted to film stud ies, and the editors of Close Encounters are also co-editors of Camera Obscura. In her introduction Penley explains that The impulse for doing the special issue arose from the percep tion that science fiction film as a genre--along with its evil twin, the horror film-is now more hyperbolically concerned than ever with the question of difference, typically posed as that of the difference between human and nonhuman. Questions of difference-sexual, racial, political and cultural-are here most frequently addressed, therefore, in analyses of various kinds of alien representation. I particularly recommend Vivian Sobchack's "Child/Alien/ Father: Patriarchal Crisis and Generic Exchange," which reads films such as Close Encounters of the Third Kind, E T., Starman and The Terminator for their enactment of "the death of the patriarchal future." I also recommend Penley's "Time Travel, Primal Scene, and the Critical Dystopia," a discussion of The Terminator and its high culture analog, Chris Marker's La JeLe, which includes insightful commentary on the cinema as time machine, and filters the action in these films through the lens of Freud's primal scene fantasy. I also very much enjoyed Janet Bergstrom's "Androids and Androgyny," which, among other things, contains a detailed study of Siava Tsukerman's wonderful and disturbing punk-SF classic, Liquid Sky. Several of the essays in Close Encounters move away from a cinematic focus to examine aspects of television culture: among the highlights are Henry Jenkins Ill's analysis of some of the offshoots of the Star Trek phenom enon, "Star Trek Rerun, Reread, Rewritten: Fan Writing as Textual Poaching" and Lynn Spiegel's study of various crises in the American suburban family way in "From Domestic Space to Outer Space: The 1960s Fantastic Family Sit-Com." Close Encounters closes with the script of experimental film-maker Pe ter Wollen's most recent work, the 1987 SF film, Friendship's Death. While I like the idea of including a film script in this collection, I found it to be a disappointing reading experience. It seems to me that Wollen lacks famil iarity with the SF field, and 50 the SF elements in his film remain conven tional and not very interesting. In spite of its sincere examination of the parallels among various kinds of alienation, Friendship's Death is perhaps not as successful as SF as are other more politically conservative films such as The Terminator or Alien.


SFRA Newsletter, 190, September 1991 53 On the whole, however, this is an excellent collection; it should be in cluded among the very few studies of SF film which can be recommended without reservation. Others would include Sobchack's Screening Space: The American Science Fiction Film (2nd. ed., 1987), and a volume recently ed ited by Annette Kuhn, Alien Zone: Cultural Theory and Contemporary Sci ence Fiction Cinema (reviewed in Issue 188), another very fine collection which, I am pleased to note, also includes a significant number of essays written from a feminist perspective. Veronica Hollinger Scrutable Popular Culture Powers, Richard G., Hidetoshi Kato & Bruce Stronach, eds. Handbook of Japanese Popular Culture. Westport, CT: Greenwood Press, 1989. xviii + 350 p. $59.95. 0-313023922-3. Kato is one of Japan's leading scholars-his specialty is sociology-and notes that there is no Japanese word corresponding to the American use of "popular." Popular culture would be translated as taishu bunka but the English translation would be mass culture, which overlaps but is a distinct term. He notes further that the distinctions between "high" and "Iow" cul ture in Japan are blurred. Japanese scholars in traditional disciplines-litera ture, history, anthropology, etc.-are not penalized or looked askance at for investigating topics of popular culture if their work is well done, in contrast to the U.S., where acceptance is more grudging. Powers was a Fulbright professor in Hiroshima in 1976/7 and 1987/8, and thought others would also benefit from an introduction to Japanese popular culture, similar to but less comprehensive than Inge's Handbook of American Popular Culture (Greenwood, 3 vols). The result is this volume. Topics covered include lifestyles and popular culture in urban Japan, archi tedure, new religions, performing arts (manzai and rakugo), film, TV, sports, music, comics, mystery fiction, and SF, the last by Betty Hull and Mark Siegel. Siegel, a former academic, spent two years at Osaka University. Hull has visited Japan. They were assisted by Takayuki Tatsumi, a Cornell gradu ate, since neither read nor speak Japanese. When this handbook was pub lished in mid-1989 the most comprehensive English language account of Japanese SF was the chapter by David Lewis in my Anatomy of Wonder. The chapter from the second (1981) edition is cited and quoted from rather than that in the third (1987) edition. (Powers explains that this book was delayed about four years and that no chapter is more recent than 1985).


54 SFRA News/etter, 90, September1991 The chapter follows the standard format: "a survey of the historical de velopment of the topic under discussion, with special attention to the most useful published works in the field, followed by a guide to the research col lections and reference works that should be consulted for deeper knowledge of the subjecL" The chapter is rather thin on history and analysis, with too much space devoted to Japanese fandom, which developed much later than in the U. S. The chapter by Lewis provides a much better introduction. Readers with a strong interest in Japanese SF should consult the rather dry and expensive study by Robert Matthew, Japanese Science Fiction: A View of a Changing Society, Routledge, 1989). The hand book as a whole is more rewarding than the chapter on SF and is recommended for larger public or university libraries, which might also consider a subscription to the Journal of International Popular Culture, edited by Powers. Neil Barron Excellent Library Resource Shelley, Mary. The Mary Shelley Reader. Edited by Betty T. Bennett and Charles E. Robinson. New York and Oxford: Oxford Univ. Press, 1990. 420p. $39.95 he. $14.95 pb. 0-19-506258-2 (hc);0-19-9506259-0 (pb). The Mary Shelley Reader includes the original text of the 1818 first edi tion of Frankenstein, Mary Shelley'S "Introduction" to the 1831 edition of Frankenstein, the novella Mathilda, and seven of her 26 known stories: "Rec o"ections of Italy" (1824), "The Bride of Modern Italy" (1824), "Roger Dodsworth: The Reanimated Englishman" (1830), "The Dream" (1831), and "The Mortal Immortal: A Tale" (1833). It also includes seven essays and reviews (a very tiny sample of what might be called her scholarly writing), eleven of the approximately 1600 known letters, and a "Selected Bibl iogra phy" of works by and about her. Among the eleven illustrations included are the two most famous representations of Mary Shelley. The editors of this collection are among the best Mary Shelley scholars. Professor Bennett is editor of the Letters of Mary Wollstonecraft Shelley (three volumes, Johns Hopkins University Press, 1980, 1983, 1988). Professor Robinson is editor of Mary Shelley: Collected Tales and Stories (John Hopkins University Press, 1976). The selection of materials they have made for this reader could not be better with one not quite trifling exception: Among the illustrations they could and should have included a photocopy of the 1818 Frankenstein title page. Conspicuously, it omits the author'S name, a matter of some importance in Mary Shelley'S later fortunes. Moreover, though Bennett and Robinson provide a generally useful "Preface" and "Introduction," they do not explain all of the good reasons for and uses of the selections they have provided.


SFRA Newsletter, 190, September 1991 55 Before addressing these several matters it seems helpful to address the one matter that can focus the rest, the literary historical stature of Mary Shelley. How is she, as author of the singular Frankensteif}-a monument of popular culture-,different in importance from her husband Percy Bysshe Shelley, a fixed star in the high cultural literary canon? The elite classes have long since included Percy Bysshe in the university syllabus. In this way he has indirect influence on the course of world history and culture. Simulta neously, surrounding the university syllabus, virtually everyone born in twen tieth-century western civilization learns the Frankenstein story early in life (albeit diluted in the dozens of film versions in which it exists) a story whose essence resists degradation of its meaning. In quantitative terms, at least, Mary Shelley as author of Frankenstein is more important than her august husband (even granting much credit to his editorial help on the great tale). What, then, may we make of her other works? They are not brilliant. They are excellent and fascinating. Recent Mary Shelley scholars seem eager to establish for her a literary reputation indepen dent of Percy Bysshe. If it needed doing, they have surely succeeded. However, it is likely that the reputation of Mary Shelley exists on different terms altogether, spontaneously as it were, without the advocacy of research, syl labus, or analysis. Meanwhile, the other Mary Shelley writings included here (or not) are at least as interesting in what they tell us about her as they do about themselves. The tiniest fact about the writer of Frankenstein, or the novel itself, is wonderful. The editors appear to have been sensitive to this, as well as to literary reputation, in choosing the pieces they included. At least six matters about the writings included in the Reader are inter esting: 1): It publishes for the first time since 1823, with a minimum of editorial apparatus, the 1818 edition text of Frankenstein, even though James Rieger recently produced a version of it (Chicago University Press, 1974; reissued 1982). Bennett and Robinson's version is better. Rieger's is dis tracting because he has idiosyncratically chosen to publish as a "critical" text a combination of the texts of the published 1818 novel, the working drafts of Mary (edited by Percy), and a portion of fair copy that survives in the Arbinger Shelley archive, in effect a scholar's copybook of parallel and variant texts, a nuisance to the ordinary reader. The 1823 printing, brought out by Mary Shelley'S father William Godwin from the 1818 plates to capitalize on the successful theatrical production of the novel, presented her name for the first time on the title page. In this 1818 version the great popular success of Frankenstein was born, and would grow for thirteen years, until 1831.


56 SFRA Newsletter, 90, September1991 2) Mary Shelley's "Introduction" to the 1831 edition of Frankenstein is the principal source of the ghost story competition account. There are no in dependently substantial or informative comments on the competition in any of Mary's letters or journals. Frankenstein is briefly mentioned about a dozen times in the journals-not enough to make inclusion of an ex cerpt meaningful in this Reader. The 9-11 September 1823 letter to Leigh Hunt included, containing Mary's reaction to the theatrical performance of Frankenstein, is the most substantial of her comments on her story in any form that survives. 3) Mathilda, finished in 1819, but not published until 1959, has prospec tively major significance for its father-daughter incest subject matter. 4) "Roger Dodsworth," "Transformation," and "The Mortal Immortal" are sto ries closest to the Frankenstein material that Mary Shelley wrote. 5) The "Essays and Reviews" included remind us that, beyond her consid erable erudition, genius for languages, and critical acumen, Mary Shelley, singlehandedly, is responsible for setting out Percy Bysshe's works so that his reputation as a literary giant could indeed occur. 6) The "Selected Bibliography" misses nothing of basic importance, and includes in its 59 entries, eleven from the 1970s and ten from the 1980s, representing a very strong current interest in Mary Shelley. The Mary Shelley Reader is a must for all libraries. John R. Pfeiffer Revolutionary Manquee Skerl, Jennie and Robin Lydenberg, eds. William 5. Burroughs at the Front: Criti cal Reception, 1959-1989. Carbondale, IL: Southern Illinois University Press, February, 1991. vi + 274p. $29.95.0-8093-1585-8; $15.95 pb, -1586-6. "Fugitive and somewhat provisional in its character," critic Ihab Hassan has written, "the work of Burroughs does not invite systematic consider ation." Yet, from their first appearance in the early '60s, Burroughs' novels have attracted sharp, insightful criticism. In At the Front Jennie Skeri, a noted Beat scholar and author of the Twayne introduction to Burroughs' work (1985), and Robin Lydenberg, author of a poststructuralist analysis of his cutup novels, Word Cultures: Radical Theory and Practice in William 5. Burroughs' Fiction (University of Illinois, 1987), have linked reviews, essays, and excerpts from critical books into a mosaic of variegated responses to Burroughs' affrontive fictions. Approaching Burroughs' works along a clutch of disparate critical vec tors seems appropriate and proves fruitful. Nearly all of these essays are readable, and the best offer notable critical insights and fascinating contex-


SFRA Newsletter, 190, September 1991 57 tual information-about Burroughs' life (about which Ted Morgan has written at length in his 1988 biography Literary Outlaw: The -Life and Times of William 5. Burroughs), the Beat movement (which Burroughs helped found in the late '50s) and about the literatures of addiction, of outrage, of disas ter, of the absurd-the whole wonderful smorgasbord of modernist and postmodernist American fiction. Indeed, one can follow the arc from mod ernism to postmodernism in the trajedory from Burroughs' early experiments with the cut-up method in Minutes to Go (1960) and The Exterminator (1960) to his recent appropriation of material from popular culture in The Place of Dead Roads (1984) and The Western Lands (1987). Reading these essays, one is particularly struck by the contrast between those published during the '50s and '60s and more recent writings: the early pieces, emphasizing biog raphy and issues of morality raised by such novels as Naked Lunch (1962), seethe with passion (sometimes in defense, sometimes in condemnation), while more recent poststructuralist criticism, which treats novels as (mere) texts and hence focuses on style and surface more than morality and sub stance, lacks such fervor. With their rampant postmodernist eclecticism, Burroughs' works impinge on a staggering range of genres-the Western, the Gothic, the spy thriller, and above all, SF. Gleefully appropriating tropes, narrative patterns, vocabulary, and icons from SF, Burroughs shapes his recombinant narratives into surreal, pornographic, genuinely visionary books that, for all their dis juncture from genre SF, have influenced many of the major SF writers of our times. Burroughs' novels are as much SF as those of, say, Gibson, Sterling, and Rucker-writers who, in their current stage of passive post-cyberpunk commodification, have become the new staples of the genre. At the Front is not for the Burroughs beginner; the most useful introduc tion to his works is A William Burroughs Reader (1982), in which John Calder combines carefully chosen excerpts from Burroughs' novels through Cities of the Red Night (1981) with extensive, invaluable introductory essays and notes. But for the enthusiast, At the Front offers many riches; for me, reading these essays sharpened my sense of the ultimately problematic na ture of Burroughs' oeuvre. At the core of his art is a deep and abiding dis trust of language, character, and narrative. Burroughs wants to use fiction (among other things) to expose the subliminal control mechanisms of litera ture, but the contradictions inherent in this strategy lead him into an inescap able cui de sac. Moreover, his novels strain with the tension between his avowed need to communicate with a wide readership and his program of actually changing those readers through his fiction; his determined recourse to fragmented language, chaotic narrative, unstable characterization, surre alism, collage, and montage, and extremes of word and image, all in aid of


58 SFRA Newsletter, 90, September1991 the latter goal, preclude his attaining the former. Yet, his books remain hauntingly resonant. Of himself Burroughs has said, "1 am not an enter tainer"; perhaps not, but these essays show that he is a true visionary, a sav age satirist, and the preeminent myth-maker for our strange millenarian times. Michael A. Morrison Poe in Song and Story Smith, Ronald L. Poe in the Media: Screen, Songs, and Spoken Word Record ings. NY: Garland, 1990. x + 226 p. $33. 0-8240-5614-0. Beyond a prodigious demonstration of the enduring popularity of Poe's works as exhibited by their extensive recreation in the media, it is difficult to discern an intent for this compilation of sound recordings, films, and music based primarily on Poe's literary output. Entries are arranged alphabetically by genre: short stories, biography, and poems; within each entry are narra tive accounts of spoken word recordings, dramatic radio broadcasts, music both composed and recorded, and films based on that work. The listing does not purport to be complete, though it certainly is comprehensive and the author displays knowledge of the content of most of his listings. However, presentation of the material is cluttered, and information is not readily accessible to either the browser or the researcher. The volume contains no list of media organized, indexed, and cross-referenced in a system atic bibliographic format, nor is there any appendix with addresses of sources for purchase or rental of the material listed and described. Included are many presentations with a dubious connection-sometimes only a title-to Poe. The commentaries on the media are themselves idiosyncratic in both organization and content. There is no readily apparent order to the listings. Sometimes the original Poe work itself-its plot, theme, quality, popularity, and any barriers (such as length) to its reproduction--is discussed; in other cases available media are succinctly and factually described. Smith does helpfully note the extent of any abridgments or changes in the texts; often he goes one step further and quotes extensively from either the original text or the abridgment or both, even indicating the words and syllables that the performer chooses to emphasize, the tone and accent that he uses, and the words he mispronounces. The commentaries are most useful when, as in the discussions of "The Cask of Amontillado" and "The Raven" for example, the author notes various critical interpretations of the works. The overall qual ity of presentation and faithfulness to the mood and intent of the original are also evaluated. Sometimes a contemporary review of a piece of music or a film is included.


SFRA News/etter, 190, September 1991 59 Some of the author's digressions are entertaining, others merely distract ing. Dangling modifiers appear frequently enough to be seriously irritating. As a reference work this volume, though thoroughly researched, is poorly designed and contains inadequate information about the sources of the media discussed. Agatha Taormina Bibliography Checklists Stephens, Christopher P., compo The Science Fantasy and Fantasy Paperback First Edition: A Complete List of Them All (1939-1973). Hastings-onHudson, NY: Ultramarine Pub. Co., Box 303, 1991. 143 p. $22.95 paper, stapled. 0-89366-161-7. Joyce, Tom & Christopher P. Stephens, comps. A Checklist of Kim Stanley Robinson. Ultramarine, 1991, 28 p. $4.95 paper, stapled. 0-89366-204-6. When most of the pulps died in the 1950s and 1960s, the mass market paperback replaced them, usually lasting no more than a few weeks on the newsstands, their life span equally brief today. Some distinguished, and much undistinguished, SF and fantasy appeared as original paperbacks, some later appearing in hardcovers. Stephens, a publisher and bookseller, has compiled fur collectors a bib liography of paperback first editions of SF and fantasy (horror and Gothics are excluded) published in America. In most cases these are the first editions, but in some cases are reprints of earlier British editions. Later U.S. and Brit ish hardcovers are usually mentioned. The earliest title is said to be 1939, but the earliest I could find is the one I expected, Wollheim's The Pocket Book of Science Fiction, 1943. The arrangement is generally by author, then chronologically, with each entry numbered. The author's real name is used for the entries, with crossreferences from pseudonyms. I'd have preferred Piers Anthony and Hal Clement to Piers Anthony Dillingham Jacob and Harry Clement Stubbs, i.e., arrangement by the name most readers use. Anthologies are handled in a wildly inconsistent way. Some are listed by title, even when others by the same editor are under the editor's name (e.g., Silverberg'S Alpha series). Still others are listed by publisher, even when an editor is shown. Anonymously edited anthologies should have been entered under title consistently, or clustered under Anonymous. The title index is cross-referenced to author/editor and year; it would have been more precise to cross-reference to entry number, not year.


60 SFRA Newsletter, 90, September1991 I selectively checked this listing against roughly similar bibliographies, such as L. W. Currey's Science Fiction and Fantasy Authors, 1979, the stan dard collector's guide that lists all English language first and other significant editions. Volume 3 of Tuck's encyclopedia (1982) has lengthy listings of paperbacks by author and publisher, but it would be very time consuming to see why Stephens omitted titles. Sampling indicated that he included almost every book I'd have listed. Two booklets from the 1930s by A. Merritt, listed in Currey, are omitted. Farmer's Flesh is here but not his Essex House pornography. Capitalization is unorthodox; typos include forward for fore word, misspelling of Fredric Brown's first name and the title of H. L. Gold's anthology, Weird Ones. Serious collectors will probably feel this worthwhile, but should give priority to Currey (still available for $68.50). Libraries can skip. The Robinson checklist is one of many. This differs from the others by having a seven page autobiographical piece by Robinson, "The Man in the Mirror," who is allegedly Robinson's alter ego who dictates his stories. He should be pleased he has a reflection; not all of us do. The checklist includes both books and short fiction, a few of them forthcoming. Useful for collec tors. Neil Barron An Excellent Survey Stinson, John J. Anthony Burgess Revisited. Boston: Twayne, 1991. xii + 164 p. $22.95.0-8057-7000-3. Almost forty when his first novel was published, Anthony Burgess has made up for his late start. He has produced to date thirty novels, almost as many other full-length books and approaching a thousand essays and occa sional pieces. His interests are boundless, his reading voracious, his energy and appetite for life positively intimidating. The author of this latest addi tion to the Twayne"s English Author Series is well aware of the problems posed by his subject. He seeks, with barely a flicker of irony, to provide "a cohesive and not overly technical discussion of the thirty novels Burgess has written to date" in about 142 pages. He succeeds admirably. Burgess's hero, as polymath, linguist, musician, and Catholic expatriate, is inevitably and overtly James Joyce. But does Burgess the prolific Mancunian measure up to the Dubliner for whom silence-never Burgess's strong point-and cunning were just as important as exile? Stinson is judicious: Burgess has "almost-but not quite-secured himself a place as a major contemporary novelist," the reasons being, not a lack of talent (Burgess has talent in superabundance), but the "absence of a single, great, fully


SFRA Newsletter, 190, September 1991 61 realized, and representative noveL" The reason for the omission: harder to say. A lack of thematic depth? A tendency to be too clever by half? A lack of vision or concentration or patience? Stinson raises all these issues, but from a position of genuine and complete sympathy. Yes, Burgess has failed to produce the great work, but in the meantime "we are extraordinary thank ful" for the fecundity of the phenomenal Mr. B. The chapter "Dystopias and Cacotopias" is of particular interest to sf readers. Stinson shows how the Pelagian/Augustinian split in Burgesswhich boils down to a detestation of wishy-washy liberalism, faith in human perfectibility, and English socialism that derives from his Catholic education and cosmopolitan sympathies-becomes powerfully dramatized in A Clock work Orange, and rather less so in The Wanting Seed and 1985. A Clock work Orange of all Burgess's novels will probably survive best, because it achieves "the mythic dimension" -ironically in view of the far more delib erate mythic underlay of many of Burgess's other novels. The weakness of the book is not, surprisingly, in its necessarily brief coverage of the fiction-for Burgess's fiction simply isn't thJt deep. It is in the larger literary context, and this, I suspect, is because Stinson SWJllows Burgess's deliberately perverse reJdings of, SJy, H. G. Wells JS merely J "disJppointed liberal," and of the figure of Kurtz in Heart o( Darkness JS a giJnt departed from a world of "timid wrJiths." Otherwise this is In excel lent introduction to an important but infuriJting author, sl'lwrst'ciing previ ous surveys. Strongly recommended for all libraries. Nicholas Ruddick By And For Fans VJn Hise, James, editor. The Best of Enterprise Incidents: the Magazine for Star Trek Fans. Las Vegas: Pioneer Books, 1990.99 p. $9.95, pb. 1-55698-231-3. Edward Gross and James Van Hise. Dark Shadows Tribute. LJS VegJs: Pio neer Books, 1990. 144 p., $14.95, pb. 1-55698-234-8. Van Hise. Lost in Space 25th Anniversary Tributer Book. Las Vegas: Pioneer Books, 1990. 170 p. $14.95, pb. 1-55698-226-7. VJn Hise. The Trek Crew Book. Las Vegas: Pioneer Books, 1990. 95 p. $9.95, pb. 1-55698-257-7. It is interesting and possibly significant that the villains of two popular but very different fantastic TV shows of the late 1960s became the most popular characters and had to be hastily reformed. Barnabas Collins on Dark Shadows Jnd Dr. Smith on Lost in Space both began as ruthless murderers. BJrnabJs WJS softened into an anguished reluctant vampire while Smith becJrne J supercilious cornic troublernaker. In two other series frorn the SJme period chJrJcters intro duced JS humorless foils to the dJshing hero, Mr. Spack on Star Trek Jnd IlyJ


62 SFRA Newsletter, 90, September1991 Kuryakin on The Man from U.N.CL.E., staged similar coups and became popular icons. Was this a sign of rejection of conventional heroism? Even this modest level of analysis is beyond the capabilities of Pioneer Books, which in the past few years has published dozens of fannish detail obsessed books on TV shows of alleged "cult" status. Van Hise's books on Dark Shadows and Lost in Space have all the usual Pioneer features-bub bly fan "criticism," production details, credits, detailed episode synopses, darkly-reproduced black-and-white stills, and interviews with participants, especially actors. The episode synopses are the only reason libraries might consider buying a Pioneer book. The Dark Shadows Tribute Book synop sizes GOO episodes; Kathryn Leigh Scott's The Dark Shadows Companion (1990) synopsizes all 1225 episodes of the series, but Scott-s synopses are shorter than Van Hise's. The fan essays and interviews in Scott's book are longer and more informative than those in the Pioneer effort. Even fans should prefer Scott over Van Hise unless they positively need the more com plete synopses. The Lost in Space 25th Anniversary Tribute Book has the best claim of the four books considered here for inclusion in large media collections simply because it is apparently the only book on this little-re garded series. The synopses are very detailed; the whole cast is interviewed; and Van Hise's commentary is less enthusiastic than usual. He reckons that Lost, which debuted a year before Star Trek, had one good year and two poor years. Pioneer's Star Trek titles are even less needed than its books on lesser known series. The Trek Crew Book has fan fiction in the form of biographical sketches of the Trek heroes from birth to the beginning of the epochal voyage of the Enterprise. "He was dedicated and determined, alive with fire" is a typical accolade. The crew Book also includes brief accounts of the careers of the Trek stars and, of course, interviews. Asked for the "underly ing message" of Star Trek, William Shatner replies, "That's like asking, 'What is the deep philosophical meaning of the Bible?'" Pioneer's Trek books are of more use for the study of fandom than the study of Star Trek. Michael Klossner THE


SFRA Newsletter, 190, September 1991 63 Reads with Freshness Despite Its Age Waugh, Colton. The Comics. Jackson: University Press of Mississippi, March 1991. xvii + 364p. $37.50; $16.95 pb. 0-87805-498-7; -499-5. Colton Waugh's groundbreaking history of the American newspaper comic strip was first published in 1947. It has been twice reprinted; in 1974 by Luna Press (New York) and now by the University Press of Mississippi, in an edition that features an expanded index and an introduction by M. Thomas Inge but is otherwise identical to the Luna reprint, including the repro duction of the four original color plates in black and white. In 1947, Waugh was writing the first book-length history of the newspa per comic strip and brought to it his experience as a practicing strip artist. He was also able to consult newspaper files of daily strips and Sunday color sectibns before the daily strips were transferred to microfilm and the color sections consigned to black-and-white reproductions on microfilm, with the bound volumes either trashed or, in more fortunate instances, obtained by collectors and knowledgeable scholars. Waugh was forced to limit his illustrative examples but his artist's eye served him well, although he was usually unable to print more than a single example of an artist's work. His choice was often of a more recent panel or panels from a long-running strip, sometimes by an artist other than the cre ator of the strip. Rut if Waugh was mapping out a pilth thilt lilter commen tators have often followed, the interest for the contemporary reader is not primarily in the historical perspective which is still of considerable impor tance in spite of the inevitable errors in detail but in the vigor of the writing and the enormous affection which Waugh brought to his narrative of the artists and their creations. Waugh's commentary ranges from strips that have passed into history (the work of giants like Outcault, Winsor McCay, Herriman, and McManus) to strips that have survived the death or defection of the original artist and are still popular today (Prince Valiant, Tarzan, Flash Gordon, Blondie, and Gasoline Alley). But whether the strips were of historical or current interest, Waugh wrote of them with such enthusiasm that his account is always of a living entity untarnished by the passage of time. M. Thomas Inge evokes this aspect of the book in his introduction in which he describes his discovery of the book when he was a teenager as well as the basic soundness of Waugh's guidelines that have influenced all sub sequent commentary. The publisher is to be congratulated for returning this book to currency. It is, however, a book that should not be relegilted to the section in bookstores where university press books are often shunted. The book certainly has academic interest but it transcends that category and reads with a freshness that belies its age. Walter Albert


64 SFRA Newsletter, 90, September1991 FICTION Clancy Clone Anderson, Kevin J. and Beason, Doug. Lifeline. NY: Bantam Spectra, De cember, 1990.460 p. $4.95 pb. 0-523-28787-7. Kevin J. Anderson and Doug Beason have impeccable credentials in the hard sciences underpinning Lifeline. Anderson is a technical writer with the Lawrence Livermore National Laboratory, and Beason, a Major in the US Air Force, is an exotic weapons specialist, with a Ph.D. in physics. In addition, both are experienced science fiction writers. Lifeline takes place in a foreseeable future, when mankind is beginning to colonize space in a meaningful way. Unfortunately, the USSR has gone through a conservative backlash against the glasnost era, and so on Earth su perpower tensions are high. Then nuclear holocaust occurs, knocking the planet's technology back to a pre-industrial level. The space colonies are untouched, but because none were designed to be self-sufficient in food and other essentials, this just delays their demise. Only the Filipino 0) space station is able to grow enough of its own food to survive, and this is because of the new crop developed by its brilliant, arrogant geneticist. The American orbital factory, and the UN moon base, are dependent on shipments that will never arrive again. The situation aboard the Soviet space station is less clear, as its officers cut off all contact with the outside. American Orbitech 7, however, has the abil ity to produce a filament of such infinite strength and length that it could be a literal lifeline between the otherwise isolated colonies. But it is also run by Curtis Brahms, a ruthless, quantification-obsessed manager with no discernible soul. To make meager supplies last longer, he quickly executes the ten percent of the factory's population his studies indicate are the least efficient. Following this he institutes a regime of terror, surveillance, and manipulation. Brahms is not entirely without a conscience; he grasps that what he is doing is wrong, though he rationalizes it all away. He cannot, in addition, grasp the differences between leadership, management and manipulation. Brahms is a genius in a narrow sort of way, and certainly means well as far as his inadequate morality will allow. In these ways he makes an excellent contrast to the generous but abrasive Filipino scientist Sandovaal. In its style, pace, multiple plot lines, and approach to technology, Life line is reminiscent of a Tom Clancy novel. It is probably no coincidence that there is a character named Dr. Clancy. As in a Clancy book, the subplots come together comprehensively in a tense and effective conclusion. Lifeline is an enjoyable novel fluent in matters both of science and technology as well as the writer's craft. james P. Werbaneth


SFRA Newsletter, 190, September 1991 65 All Things Must End Anthony, Piers. Phase Doubt. NY: Ace, January, 1991.324 p. $4.95 pb. 0441-66263-3. The two frames of Proton and Phaze have been successfully joined, the warring factions in both frames reconciled. Everything is going well in the merged frames ... until the planet is invaded by alien, exploitative Hectare, eager to control its scientific and magical possibilities. When all of the Adepts but one are imprisoned, the child Flach/Nepe must save the worldor destroy it. Accompanied by a variety of characters, most capable of several manifestations from scientific and magical planes, Flach/Nepe begins a quest filled with action, excitement, multiple plot turns, and Anthony's typi cal puns, game-playing, and apparently inexhaustible ingenuity. In the "Author's Note," Anthony says that Phaze Doubt will conclude the Apprentice Adept series ... probably. Certainly he carefully completes a number of narrative strands, resolving the threat of alien invasion with a plot twist ensuring that neither acquisitive aliens nor equally exploitative humans will have future access to Proton/Phaze. In good Renaissance fashion, he signals the end of the tale by pairing off characters in marriage, blending alien and human, machine and magical creatures. Phaze Doubt may lack the coherence of the first three volumes of the series (a complete narrative themselves), but it does nicely signal "end" to three generations of intrigu ing characters inhabiting equally intriguing landscapes. Michael R. Collings The Joy is in the Journey Arnason, Eleanor. A Woman of the Iron People NY: Morrow, April 1991. 527pp. $22.95hc. 0-688-10375-8. Picking up this novel, you should ignore the silly, irrelevant cover, but you should note the quote from Ursula K. Le Guin that describes it as "a nonpredictable, thought-through, can't-stop-readi ng-it-story." She's right, but reading it you'll see very soon why Le Guin would especially like Arnason's story: A Terran emissary and a native companion travel across a strange planet as part of an exploration of cultural and sexual roles. No, it's not The Left Hand of Darkness-it's much longer, for one thing-but A Woman of the Iron People also successfully involves readers in a study of strangers that actually is discovery of oneself. Arnason's Terran explorers are overwhelmingly concerned with the methodology and morality of contacting the natives of Silgma Draconis II.


66 SFRA Newsletter, 90, September 7 99 7 Earth is just struggling back from social disintegration that resulted from humanity's bad habits; the multi-national crew doesn't want to repeat past mistakes. So the Terrans go out individually, not trying to dominate but to become acquainted with the humanoid natives. They discover that the na tive tribes are shaped by biology. Males leave the tribe at puberty, living as semi-berserk hermits thereafter; they can stand to be around females only during an annual mating period. Or so it seems. The Terran anthropologist Lixia is forced to leave the tribe she first approached, in the company of Nia, the title character, who was exiled from her tribe for living with a male. As they journey across the wide, vivid landscape of this new world, they are joined first by a native male, then by a male Terran. And so they travel on, surprising those they meet, being surprised by them and by themselves. This brief summary might make Woman sound like warmed-over Le Guin or rehashed feminism. It's much more. The title of each section of the story is the name of a character, and that's appropriate because Lixia is so deeply concerned with appreciating the uniqueness of the people she meets. So are the natives. And so, as we follow the action, so too, do readers be come responsive also. The places the characters go are vividly described, and their actions are interesting. But the way they uncertainly but devoutly accept the self-worth of strangers is the most fascinating thing about this story. Seeing this, one can accept a conclusion that leaves many plot threads dangling. Perhaps Arnason is leaving room for a sequel. Perhaps not. With a healthy, human process at work, we are prepared to trust the outcome. Recommended. joe Sanders Good, But, But, But Curry, Chris and Lisa Dean. Winter Scream. NY: Pocket Books, February 1991. 403p. $4.95pb. 0-671-68433-7. Those of us with active imaginations are very picky about the horror books we read. We don't deal well with the nightmares which torment us at night after a novel we consciously convinced ourselves was only fiction, after all, comes back to visit us in our subconscious. Winter Scream is an easily digestible read. After a difficult start which deals with lengthy expla nations of the Serrano Indian myths, legends, and lore, the book finally gets into the story. In the same vein as Jeffrey Konvitz's The Sentinel, Winter Scream in volves an "evil" which needs to be guarded over by a long line of guardians. In this case, the evil is "the Well" and the guardians are the Yuhaviatam, the last of the "true-blooded" Serrano Indians ... the last of whom happens to


SFRA Newsletter, 190, September 1991 67 be dying. Elizabeth Sullivan, married to a Caucasian man who believed in her culture, is dying at an age well past 110. Her great-granddaughter, Megan rejects the heritage she is supposed to receive, and it falls to her daughter, Alisha, to take up the mantle. In the usual cyclical storyline for this type of story, someone pries open the carefully sealed "evil place" and ghastly horrors begin to roam a once quiet place. (This sort of thing seems to happen every couple of decades, or centuries, or millennia, etc.). After quite a few people (read: Cannon fod der characters) lose their lives (or sanity, or eyes, or family, etc.), the "slimy bads" are dispelled back to prison by the "good guys." Sigh. This book is a good effort. There is a plot, there is a followable story with a beginning, middle, and end. There is an attempt at character development, and we see Megan and Alisha grow to some extent. But. .. but. .. but it is too generic a subject ... Indians and evil. .. but there are far too many sec ondary characters to keep track of. .. but it is poorly edited (one poor char acter doesn't know how to spell his name, as in one place it is "Darryl Bob" and another place it is "Darell Bob", clearly showing the places where au thors changed) ... but ... but. Lisa Dean is a great fantasy writer, but horror is not her genre. Oaryl F. Mallett An Ingenious Story David, Peter. Vendetta. NY: Pocket Books, May 1991. 400p + xi. $4.95 pb. 0-671-74145-4. In the tradition of well-written (for the most part) Star Trek novels, this book is no exception. In this giant novel, we find a tie between "Classic Trek" and "Trek Lite." Following close on the heels of the destruction of a majority of Starfleet's vessels by the Borg, Captain Picard and the Enterprise are sent to rescue survivors on the Penzatti homeworld. Their planet was being carved up by the Borg, when something with incredible power de stroyed the Borg vessel. Remember the Doomsday Machine? According to Norman Spinrad's original script, it was created "by a long-dead alien race" and it ate planets. According to Peter David's novel, the "long-dead alien race" was destroyed by the Borg and the machine Captains Kirk and Decker encountered (which destroyed the Constellation and very nearly the Enterprise), and which was created to combat the Borg. The Doomsday Machine which Captain Picard engages is a stronger version of the original, and it eats planets in order to fuel itself. It is a somewhat sentient ship in the fact that the souls of the dead alien race are trapped within the ship, and their mindless determination to destroy the Borg make them just as dangerous to the United Federation of Planets as the Borg.


68 SFRA Newsletter, 90, September1991 An interesting twist to the novel is that the ship has trapped the body of a woman whom Picard fell in love with while he was a young cadet at Starfleet Academy ... and she is also Guinan's adopted sister! We also meet Captain Korsmo, a rival of Picard's since Academy days, and see the return of Commander Shelby, Borg expert. Vendetta is a very well-written book which manages to tie in magnificently with The Next Generation television series, and also to pull together a continuous timeline with the original series ... showing how old Guinan, the Borg, and the Doomsday Machine II are! Quite an ingenious story. David's writing is superb and the only area he needs to work on is his level of professionalism, to resist the impulse to take cheap shots at people in his unfortunately sarcastic dedication. Daryl F. Mallett More Perils of Castle Perilous DeChancie, John. Castle War! NY: Ace, November 1990, 233p. $3.95pb. 0-441-09270-5. Castle War! is the fourth volume in DeChancie's Castle Perilous series, following on the heels of Castle Kidnapped (1989), Castle for Rent (1989), and Castle Perilous (1988). The "castle" each title refers to is Castle Peril ous which sits at the center of reality and contains portals to 144,000 differ ent universes, one of which is the Earth's. The monarch of Castle Perilous is Lord Incarnadine, Inkyi to his friends. The story line of Castle War! is similar to the earl ier tales and continues with the same characters. Castle Perilous is under siege once again, this time by forces led by Lord Incarnadine's evil twin, himself the ruler of his own castle. The true Incarnadine is off exploring another universe where magic is weak, so he cannot quickly return. He leaves the castle's defense in the hands of computer whiz Jeremy Hochstader and Isis, a living computer pro gram. Gene Ferraro cannot help, for on his way to study computer science at Cal Tech, he ends up in an Earth-like world whose populace is under to talitarian rule. And in still another universe, Cleve Dalton and his golfing buddy Thaxton struggle through eighteen holes of the golf-course-from-hell, a course managed by-who else?-the devil himself. As always with DeChancie, there is a lot of fun in this book. The dia bolical golf course is a stroke of genius. Still, the novel's resolution is some thing of a handicap; the attack on the castle, for instance, simply fizzles out more than anything else. Castle War! may not be "dead solid perfect," to borrow a golfing description, but it should appeal to fans of light fantasy especially those who have enjoyed DeChancie's earlier works. Rick Osborn


SFRA News/etter, 190, September 1991 69 Adventure Story and More Eddings, David. The Ruby Knight (Book Two of The Elenium). NY: DeIRey,1990, 406p. $19.95 he. 0-345-37043-0. The Ruby Knight is a just-could-not-put-it-down adventure story. And more: it is a mystery story, a quest story, a war story, and a political power-struggle story. In Book I of the trilogy, The Diamond Throne, Elhana, the Queen of Elenia, has been poisoned and encased in crystal in her throne room. Sparhawk, Queen's Champion and Knight of the Church, seeks a cure for her. It is deter mined that the cure lies in the power of the ancient and magic stone, Bhelliom. The Bhelliom has been lost for five hundred years and the task of finding it has fallen to Sparhawk. Sparhawk's companions for the search are three other Church Knights; the novice Berit; Sparhawk's squire, Kurik; Sephrenia, the woman who instruds the Church Knights in the secrets and magic of Styricum; the boy thief, Talen; and the strange girl Flute. ihe Queen was poisoned by Annias, the Church Primate in Elenia. Annias wants his bastard son, Lycheas, to have the throne, and incidentally the treasury. The Queen is kept alive by Sephrenia's magic; she must keep a constant vigil to prevent Annias from killing the Queen. Annias also wants to become Archprelate and needs money to bribe his way to this end. Along with the evil powers of Annias, Sparhawk must also battle the power of Azach, one of the ancient gods who also wants the Bhelliom. He who holds the Bhelliom rules the world. Sparhawk, with the help and magic of Sephrenia and Flute, overcomes all odds and regains the Bhelliom. There is hope that the Queen will be rescued in the third book, The Sapphire Rose. This is a violent story, but perhaps it is necessary when wars are fought on battlefields with swords and maces. There is one awful, really graphic scene of human sacrifice. Of course, this adds an element of horror and tension aimed at making this a very real story. Ann Hitt Enchanting Cover Edgerton, Teresa. Goblin Moon. NY: Ace, February 1991. 293p. $4.50 pb.O441-29427-8. Goblin Moon's story ends just after it has begun. Unfortunately, it took 293 pages to reach that beginning. Most earlier pages develop the world in which the rest of the trilogy or whatever-ology will occur, and introduce the half dozen characters who will be participating in the future tale. Sequen tial chapters introduce the various characters, giving us the history and


70 SFRA Newsletter, 90, September1991 present activity of each, independent of other characters. Only in the last fifty pages do the separate plot lines begin to mesh and tangle in a way that makes a story worth reading or hearing. The very last line is the announce ment of a major character: "1 am perfectly convinced we are about to em bark on a grand adventure!" If only the remark had come 200 pages earlier! The world of Goblin Moon is lovingly detailed and interesting. Fairies, witches, and trolls exist, but knights in armor and sorcerers apparently do not. Trade guilds control the economic life and have, also, a religious or scientific function as well. The classes and manners of its society are like those of Marie Antoinette's time but the personal and place names are Germanic or Nordic. Goblin will please those who delight in imaginatively created worlds. Its characters are cut to standard patterns-the poor young man with hidden potential; the frail beauty who falls in love with him; her sturdy or phaned companion who is friend to both of them; a mysterious fop to whom the orphan is attracted and who acts a Scarlet Pimpernel role for no reason explained to the reader. The slightly sinister Jarl and Duchess who act as this volume's villains also lack apparent motives for their actions. Bringing the half dozen characters to a situation where they interact a little, and are ready to begin a "grand adventure" took Edgerton so long that I could not develop much interest in their present troubles or the future ones guaranteed by the many loose plot lines left on page 293. Those who want a story that begi ns reasonably near the first of the book are advised to wait to read Goblin Moon when its sequel appears, and read both together. Then enjoyment, rather than exasperation, will be assured. P.S. The cover by Dennis Beauvais is as enchanting as the story should have been! Paula M. Strain Humor, Myth, Sex, and More Farmer, Philip Jose. Dayworld Breakup. NY: TOR, June 1990, 324p. $17.95 hc. 0-312-85035-2. Farmer's enduring ability to surprise the reader, both conceptually and in terms of plot, continues in this third book of his Dayworld series. His protagonist-in this book called Duncan-is battling to overthrow a repres sive regime which conserves resources on an overpopulated earth by "ston ing" individuals six days out of each week. Farmer has an almost Dickensian gift for painting vivid characters in broad strokes. One characterization coup is Panthea Snick, an aggressive, sex rebel who initiates one of the hotter sex scenes in this year's science fic-


SFRA Newsletter, 190, September 1991 71 tion. Minor characters-a sensual psychiatrist, a folksy rebel couple, even victims in parking garages-are all drawn memorably. Duncan himself is a fascinating experiment in characterization. Victim of a childhood trauma that begets his rebelliousness and splits his personality into seven or eight different personae, Duncan changes in the book from the anti-authoritarian, impulsive, headstrong anarchist to an abused but sincere altruist. The personalities are different-yet Farmer manages to suggest the same personality spine in both, just as Duncan's personality permeates and develops his alter-ego in the previous books. Which speculative writer but Farmer would have tried such a trick? Dayworld Breakup fulfills the expectations which readers always have of Farmer-zany humor, evocation of myth (in this case the sleeping-beauty myth), psychological exploration, and of course the sense of improvisation that one feels both in narrator and in the characters. Within a curiously postmodern world, Farmer continues to develop his major themes-the power of the sexual life force, human dissatisfaction with the status quo, and its opposite, despicable human sheepishness. Sometimes the themes are drawn too broadly, even as the characterizations become caricatures. But the fault, if any, is an excess of whimsy, overflowing wit. The reader closes the book admiring Farmer's conceptual freshness and vitality, convinced that such a novel is what science fiction is all about. Mary Turzillo Brizzi A Thought Provoking Work Friesner, Esther. Hooray For Hellywood. NY: Ace Books, February 1990, 217p. $3.50 pb. 0-441-34281-7. Hooray For Hellywood is the sequel to Here Be Demons and Demon Blues. In this book most of the original characters are brought back to help rescue Noel, the now grown up son of Melisan and Kent Cardiff. Noel, it seems, having found out about his half-demon background feels he is doomed to hell. With a burden like that he could not possibly finish his schooling at Yale, so he hooks up with an Evangelical preacher called "Sometime" Joseph Lee. The problem is that Lee is actually the demon Raleel out to get revenge for the trouncing his father received at the hands of these self same characters. Since Noel won't believe anything his parents, his guardian angels, Atamar and Lura, or anyone else except Lee tells him, he isn't exactly easy to rescue. Still following? Well, the book takes some twists and turns which are fun to follow but impossible to write about. Friesner is inventive enough so that just when you feel that you've reached the point where there are too many characters or the situation has to be re-


72 SFRA News/etter, 90, September1991 solved, a new turn makes the book fresh again. Yes, it is just plain fun but more importantly it nags, subtly, at your preconceptions of good and evil. In the Friesnerian universe the greatest sin is indecision, especially since the greatest gift was free will. This is not to say that this book is an overt attack on determinism and organized religion. Rather it is a small voice which suggests that we think before giving up this gift so willingly to others. So, beyond the fun is a thought provoking work. While this book stands on its own, after reading it you will get the urge to go out and buy the other two. Few sequels can accomplish that. W.R.Larrier Good Formula Fantasy James, L. Dean. Sorcerer,s Stone. Lake Geneva, WI: TSR. Books, Inc. April 1991. 313p. $3.95 pb. 1-15076-074-5. Sorcerer's Stone is a good fantasy novel. It has all the right elements for it. .. a good king murdered by evil underlings, warring nations, a young prince thrown into political turmoil, a loyal lord who gives up life and limb for said prince, beautiful princess, swordplay, magic and sorcery. But this fantasy story has a twist ... it has science ... sort of. Usually fantasy stories are "area-oriented," by which I mean they deal with a very small area of land ... a kingdom, a continent or two ... rarely do fantasy stories speak of the "planet" or the "globe." On this planet (there's that word), there are two "sorcerers" who are older than the oldest person al ive can remember. They are Sezran and Misk, members of a star-faring race (there's another non-fantasy word) who somehow become stranded here. They fashion tools and weapons which give those lucky enough to find, steal, borrow, appropriate or otherwise get their hands on such, technology they've never dreamed of, or magic beyond that of their opponents. Such a tool is Kings/ayer, a magical sword which de stroys evil. .. but the question at the end of this novel is ... is Kings/ayer much like Elric of Melnibone's Storm bringer? Will this sword turn the bearer into someone evil? Will it sap the strength and goodness of the bearer? Will it cause the bearer to become more and more dependent upon it? We will have to wait for the sequel, Kings/ayer, to appear in order to answer that. James tells a superb story. Once picked up, this book is hard to put down. Aspects of fantasy and science, as well as a style of writing which is becoming increasingly more apparent, combine to make this story success ful. Daryl F. Mallett


SFRA Newsletter, 190, September 1991 73 New SF Writer Worth Watching Kerr, Katherine. Polar City Blues. NY: Bantam, 1990. 262 p. $4.50 pb. 0553-28504-1. A writer of top-notch fantasy, Katherine Kerr has now ventured into the realm of science fiction with her novel, Polar City Blues. Set on a desert world, the novel is about psychic assassins and computer whizzes battling each other on a planet precariously perched between two much more pow erful and warring powers, the Alliance and the Confederation. The small Republic, of which the desert Hagar is only one of a very few planets, allows and even trains psychics to use their talents for the good of society, whereas psychics are supposedly killed automatically in both the Alliance and Confederation societies. In actuality, the Alliance kills most psychics, but trains the strong ones to be indomitable assassins. This novel is concerned with one of these Alliance-trained assassins, the mad but dangerously powerful Tomaso, sent to disrupt the precarious peace between the three powers. It also presents another psychic, the bumbling, insecure but likable Mulligan, who would rather be playing baseball but is now barred from the professional leagues because of his talent, and who is the first to detect Tomaso. The novel is written in Merrkan, a combination of white English, black English, and New World Spanish, odd at first, but easy to follow. The plot is extremely fast-paced, at times almost manic. Characters are all clearly delineated, not all likable, but they are easy to get to know. As a first sf novel, Polar City Blues is impressive. It is complex, original, and fascinating, and if some of the techniques that Kerr's shamans use in her fantasy series, the Deverry books, appear only slightly transformed into more scientifically acceptable psychic abilities, who is going to cry foul? Katherine Kerr is becoming a writer to know. Whether you prefer sf or fantasy, she is a writer worth reading. J. R. Wytenbroek Looking Into the Abyss McDowell, Michael. Toplin. With illustrations by Harry O. Morris. NY: Dell, August 1991. 277 p. $4.50. 0-440-20886-6. Michael McDowell's experimental novel Toplin published originally by Scream Press in 1985-is the seventh novel issued so far under Deli's new Abyss imprint, a series of "new horror" novels "from the dark frontier" un der the editorship of Jeanne Cavelos. The Abyss line, inaugurated in Febru ary, 1991 with the publication of Kathe Koja's The Cipher, was heavily pro-


74 SFRA Newsletter, 90, September1991 moted at the First World Horror Convention held in Nashville earlier this year. In a move which perhaps betrays its high ambitions for the Abyss line, Dell has chosen to reprint one of the strongest experimental horror novels of recent years, which also happens to be the strongest book of the Abyss imprint yet released. (Otherwise, all of the releases have been originals.) I use the terms "horror" and "novel" loosely here, for Toplin is more a "char acter study" than a novel in the traditional sense, more a satirical dark fantasy-if that makes any sense-than actual horror. If one can imagine Herman Melville's "Bartleby the Scrivener" written entirely through the sub jectivity of Bartleby himself, that might come close to capturing the strange, absurd world of Toplin: "I sometimes stand at the back windows and look out at the habited lofts as I read my Employer's correspondence or count his pencils. Now and then I see a man in the loft directly across the way. He wears a short white kimono with large black Oriental characters painted on it. I call him Karl"(106-7). Some readers are perhaps most familiar with McDowell's talents as one of the co-writers of the film Beetlejuice (1988). Yet McDowell is also the author of many novels, among them the popular Blackwater series. With Toplin McDowell has attempted a tour-de-force of roughly 53,000 words. By using a technique of the most profound subjectivity, he creates the eerie, paranoid, and yet often amusing world of his title character. The character of Howard the Delivery Boy, for example, is an unforgettable invention, though this does not begin to suggest the immense variety of grotesques McDowell parades before the reader. Howard has taught himself to vomit at will ("Like there's a trigger in my throat") if an "old cow" (an older woman) approaches him sexually. The events are loosely centered on the narrator's desire to help a hid eously deformed waitress, named Marta, to die: "For my own sake, I would see that she died, and died as quickly as I could bring the deed about in a manner commensurate with the advancing of my spirit and-contrariwise-the eclipsing of her own blighted soul"(59). The reason? He sees in her gro tesquely deformed features the desire for death; moreover, "When Marta was dead, the world, unquestionably, would be a more beautiful place"(60). Grouped loosely around this central narrative line, Toplin details his encounters with the marginalized and the sinister: alcoholics living in derelict cars, roving street gangs, and menacing Maintenance Men. In Geoffrey Wagner's translation of Charles Baudelaire's poem "Le Voy age," there is a line, "It is a terrible thought that we imitatefThe top and the hall in their bounding waltzes; even asleep/Curiosity tortures and turns us/ Like a cruel angel whipping the sun." While not to put too fine a touch on the wordplay between "top" and "Toplin," this' line approaches capturing the


SFRA Newsletter, 190, September 1991 75 "bounding waltzes" which are the events of this novel. No sooner does one feel that one is beginning to make sense of the events here than one gyrates suddenly-and unpredictably-away, giddy by the swerves, puzzled by the strange convergences. I am tempted to say that Deli's publication of Toplin heralds a major new direction in the field of horror and/or dark fantasy, if it weren't for the fact that the novel is now six years old. Perhaps its time for recognition has come; with its (re)publication on the bold new Abyss imprint, McDowell's Toplin may finally reach the wide audience it deserves. Sam Umland Adventu re-Mystery Preuss, Paul. Arthur C. Clarke's Venus Prime: Volume 5-The Diamond Moon, NY: Avon Books, 278pp. $3.95pb. Fortunately for The Diamond Moon, the fifth volume of the Arthur C. Clarke/ Paul Preuss shared-world project Venus Prime, the main character Sparta, a human/machine produd of advance biotechnology, is not featured prominently. In her absence the story unfolds as a tightly knit adventure/mystery which reels across the solar system to its climax on a bizarre Jovian satellite. It com bines advanced technology, space travel and the most recent knowledge ob tained by the Voyager missions to Jupiter and its moons, with ancient mythology and the kind of modern alien visitor myths made popular in books like Chariots of the Gods. On the way we meet an assortment of life-like, well developed characters whose motives and ambitions move things logically and intriguingly along through some fascinating and well conceived planetscapes, interplanetary vehicles, cultures and technologies. The writing too moves crisply along painting alien scenes in rich but deli cate tones. "These most tenuous of winds had blown the huge alien antennas clear off into space; as the ice had dissolved from beneath their roots, the massive structures had drifted free and wafted away as lightly as if they'd been dan delion seeds on a summer breeze." All of this fluid movement grinds to a screeching halt, however, whenever Sparta makes an appearance on the scene. We first meet this technological wonder woman in a therapy session con ducted by a woman (or machine?) which is a younger version of herself and are forced to sit through an entire chapter of unnatural dialogue straight out of Phi losophy 101. "Are the deaf human? The blind? Where does a quadriplegic's humanity end-somewhere in her spinal cord, or where her wheels touch the ground? Are such people dehumanized by their prostheses?"


76 SFRA Newsletter, 90, September1991 This super heroine who dreams in Greek mythology, "smells equations ... written out on the screen of her consciousness," and reviews data through "the dense tissue of her soul's eye," also has the power to turn dialogue to wood and a well-tuned plot into mush. It is a difficult enough task to create an empathetic superhuman charac ter without further distancing her with all th is folderall. What's worse (though in this case it's a blessing), Sparta is practically incidental to the plot, a sort of combination window dressing deus ex machina, almost as if Preuss had already written the book and then decided to make it part of the series later. Despite its faults, The Diamond Moon is a good read where you can lose yourself in alien worlds, exotic settings, and science-based future technolo gies. A science consultant to the film industry, Preuss, whose background includes documentary film making and journalism, as well as authoring ten novels (including the five in the Venus Prime series), is well-equipped to do all three. Complimenting Preuss' words and Clarke's vision is Darrel Anderson's 16-page insert which contains technical blueprints to the various machines used in the novel. This is an addition which should please hardest-core tech heads and SF aficionados. joseph Ferguson Too Good to be True Robinson, Spider. Callahan's Ladv. NY: Ace, 1989. 191p. $16.95. 0-441-09073-7. (recently remaindered). NY: Jove, 1990. $3.95.0-441-09072-9. There are some aficionados who are extremely fond of Callahan's Place, with its incessant puns and eccentric patrons. Such aficionados will also like Callahan's Ladv, which is about Mike Callahan's wife, Lady Sally, and her bordello. Though Mike Callahan makes a token appearance and even Jake rips off a pun or two, most of the book is told from the point of view of one of Lady Sally's girls, Maureen, an ex-hooker turned "artist" who works happily for the House she has stumbled onto quite by accident. Oddly enough, this is probably the first Robinson hero in a Callahan novel to dislike puns though she's capable of making them in order to save her life. Though this is billed as the first novel of the Callahan series, it's more like four short sto ries stuck into a book, made even more episodic by the repetition in each of the four sections of what exactly Lady Sally's place is like, from they lay out of the house (map provided) to the bugging system to the role of the other characters.


SFRA Newsletter, 190, September 1991 77 Each section can stand by itself; "A Very Very Very Fine House" tells how Maureen, a 16-year-old hooker recently knifed by her pimp, meets Lady Sally (as well as a werebeagle) and ends up working for her a few years later. "Revolver" is the story of an insatiable man and how Maureen and Lady Sally end up helping him (of course, he ends up becoming an artist---a male hooker-for Lady Sally's House). "The Paranoid" tells about a woman who has created a device that forces people to do whatever she says, and shows how she is foiled. And the last section, the longest and most action-packed, is an adventure story called "Dollars to Donuts," wherein Maureen and her friend the Professor find themselves in a jam with an unsavory character (with a stereotypical accent), though they are saved by Lady Sally in a deus ex machina ending that also reveals Lady Sally's true nature and something of her business on our world. It's this last part that makes Callahan's Lady real science fiction. Though on the whole I found Callahan's Lady an enjoyable and fast read, I found its extreme optimism tedious. Lady Sally's place is too good to be true; all her artists enjoy their work immeasurably and there are few awful clients. Although Robinson doesn't gloss over the dangers of the job, at Lady Sally's such dangers are almost non-existent since all the rooms are monitored and all the clients pre-screened. All the characters greet each other with a hug and nearly everyone is idyllically happy. Sex, of course, ties in with this abundance of warm human feeling-Robinson has always tended to equate the two. It seems to be the more the better, kinky stuff is okay as long as you enjoy yourself and no one gets (seriously) hurt, and gender isn't an issue. I found Robinson's attitude toward rape distressing: "When rape is not inevitable, but a matter of free choice-well paid and warmly appreciated-relax and enjoy it, I always say. (Any other time, cripple the bastard),' (120). I thought this simplified and glossed over a touchy topic, and also showed a misunderstanding of what rape is. This aside, Callahan's Lady is a fun read, quick and enjoyable. People look ing to find a repetition of Callahan's Place characters will be disappointed, but the trademarks of the Callahan's stories are all there: puns, good feeling, odd characters, and some adventure. The only difference: Lady Sally's place is full of women, and women hardly ever crossed the threshold of Callahan's Crosstime Saloon. But Robinson still entertains; and I look forward to more in the series. Karen Hellekson A Last Chance Shiner, Lewis. Nine Hard Questions About the Universe (Author's Choice Monthly Issue 4). Eugene, OR: Pulphouse Publishing, 1990, 120p. $4.95pb; $25hc; $50 limited, leather. [No ISBN in the books themselves; for the record, the pb is 1-561-46204-7, and the hc is 1-561-46254-3.1 According to a recent phone interview with a college literature class, Shiner is moving away from purely fantastic literature. He finds the gim-


78 SFRA News/etter, 90, September 1991 micks too confining, though he is willing to continue to use sf devices as metaphors to help explore human issues. This collection of short stories probably gives us a last chance to see Shiner as an sf writer and to estimate what he has contributed to the genre. Take the first story, "Snowbirds," in which a bored, thirtyish female bank employee realizes that some of the bank's customers have faked personal backgrounds, that they are refugees from the future, and that the man she's been sleeping with is one of them. Time travel stories often tiptoe nervously around the possibility of Changing History. A time traveller, after all, could alter the normal flow of events catastrophically by investing in the stock market, murdering his grandfather-heck, in Bradbury's "A Sound of Thun der" all it takes is stepping on a prehistoric butterfly. Or, perhaps, a time traveler could help us avoid some dire fate. Shiner's invaders from the fu ture can do nothing to prevent the ecological catastrophe that has made their own world unendurable; if anyone realizes they are invaders from the future, they vanish, ejected into their proper time. As a matter of fact, they them selves don't know that they are outsiders, because they have been conditioned to fit in as normal humans. So they're not having as much fun as the Kuttners' decadent temporal tourists in "Vintage Season," nor can they com fort themselves that they are just witnesses to a natural disaster. They know, though they won't let themselves know, that they're viewing the start of a rrE'vent

SFRA Newsletter, 190, September 1991 79 Brief, but Valuable Retrospective Williamson, Jack. Into the Eighth Decade. Eugene, OR: Pulphouse Publish ing, February 1990. 118 p. $4.95 pb, $25.00 hc, $50.00 signed leather he. Author's Choice Monthly, Issue 5. Darker Than You Think, The Humanoids, the Legion of Space series, the Seetee novels, Starbridge: I read and loved Jack Williamson's work as a teenager and still remember much of it with fondness, so this brief retrospective collec tion from Pulphouse was a definite treat. Williamson could write space opera with the best of them and he turned out his share of optimistic, protechnology stories for John W. Campbell as well. His most memorable work, however, often had a somber, even pessimistic streak to it, something clearly demonstrated in the four pieces he's chosen to include in this volume. Taking up more than half of the book's length is what is probably Williamson's most famous story, the novelette "With Folded Hands" (1947). This tale, which formed the basis for his novel, The Humanoids, concems the creation of a race of robots who are given as their prime directive the charge "To Serve and Obey, and Guard Men from Harm." Unlike the robot's in Isaac Asimov's stories, however, Williamson's humanoids seem to have the ability to interpret their charge fairly loosely. In any case they take it upon themselves to see the phrase "and Guard Men from Harm" as having precedence over "To Serve and Obey." As a result, they take over human society, turning the Earth into a rather posh prison where nothing that is even slightly dangerous is allowed. Still as effective as when it was first published, "With Folded Hands" may be even more relevant to our current, computerized society than it was to the 1940's. The other outstanding story in the volume, a kind of companion piece to "With Folded Hands," is "Jamboree" (1969). In this decidedly downbeat tale robots have once again taken control of the world away from humanity, in this case after a nuclear war. Further, they have attempted to eliminate our penchant for violence by literally eliminating adulthood. Only children remain and the world has been turned into a rather ghastly permanent summer camp. Into the Eighth Decade also includes two relatively minor stories, the some what predictable "The Happiest Creature" (1953), in which an escaped mad-dog killer matches wits with pacifist aliens, and Williamson's most recent piece of short fiction, "The Mental Man" (1988), an end-of-the-world tale with a happy conclusion that, I must admit, simply doesn't work for me. Still, the two robot stories are more than worth the price of admission. Having published his first piece of science fiction in 1928, Jack Williamson has had far and away the longest career in the history of the genre and, as these stories clearly show, one of the most illustrious. Into the Eighth Decade is a welcome addition to Pulphouse Publishing's fine Author's Choice series. Michael M. Levy


80 SFRA Newsletter, 90, September 1991 Nothing New Here Zahn, Timothy. Star Wars: Heir to the Empire. NY: Bantam Spectra 1991. 361 p. $15.00 he. ("special introductory price"). 0-553-07327-3. This book is the first of a three-book cycle, much like the Star Wars film trilogy struc ture; and it continues the story five years after Return of the Jedi left off. All the old characters are back-Leia Organa Solo (yes, married to Han Solo), Luke Skywalker, Chewbacca, the droids, et al., only now the Rebel Alliance is in power as the New Republic. Its fledgling government is under internal stress with feuds, but it manages to keep the routed Empire at bay; the Empire now holds only a quarter of its former territory. However, a tactical genius, an alien name Thrawn, has gained some power and promises to spearhead a push by the Empire to regain its territory. He has a few tricks that just may help him succeed: besides his fantastic tactical skills and his lack of respect for sentient life, he has access to an animal that suppresses the Force, rendering Jedi powers inoperative. There are about four main plots to this book; they interweave throughout, though Zahn loses track of two of them in the last quarter of the book. For starters, the New Republic is having internal problems as its leaders squabble; civil war seems imminent. Luke and Leia have the Empire after them--for some reason the Empire wants them alive and unhurt, and the continual efforts at kidnapping these two Jedi knights are cleverly foiled. The Empire sees things differently: they want to kidnap Luke and Leia (and her unborn twins) in order to bend these Jedi knights to their will. The Empire also needs ships since the New Republic outguns them, and they make a few raids to capture thp.m. Both the New Republic and the Empire are trying to win the smugglers' group to their side. Action is pretty good-exciting, lots of battles, both in space and hand-to-hand combat. There's also some character self-real ization, though not much; Luke, for ex ample, learns that he doesn't have to depend on his Jedi powers in order to get out of a sticky situation. Mostly the characters are flat, and nothing distinguishes them from one another. They all talk the same--no one has any peculiar speech patterns, and it sounds very twentieth-century-slangish. Likewise, no one except mysterious aliens are described in any detail. Zahn creates neither physical descriptions nor mental processes. As a result, all the characters are flat. My only explanation is that he wishes the reader to con nect the heroes with the movie actors that created the roles, but it's hard to create con flict and drama with such flat characters. The ones Zahn does create--Thrawn in par ticular-are better-drawn, but since Zahn discusses the New Republic characters and the Empire characters in exactly the same terms, I was left wondering who to root for. A lot of people I've talked to are under the impression that this book is going to be made into a movie, and that the Star Wars saga will continue. I have no idea if this is true or not, but this book would certainly work better as a screenplay. It doesn't have much life to it on its own and it could do with an actor or two bringing vigor to the char acters and really fleshing them out. I was disappointed in the lack of strong female char acters-and Leia's pregnant, for heaven's sake!-and there's a preponderance of male oriented detailed tactical fighting. Ultimately, there's nothing new here, but it is interest ing to see someone's vision of the Star Wars future. Karen Hellekson


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SCIENCE FICTION RESEARCH ASSOCIATION, INC. The SFRA is the oldest professional organization for the study of science fiction, fantasy and horror/Gothic literature and film, and utopian studies. Academic affiliation is not a requirement for membership. Founded in 1970, the SFRA was organized to improve classroom teach ing, encourage and assist scholarship, and evaluate and publicize new books and magazines dealing with fantastic literature and film. The SFRA enrolls members from many countries, including instructors at all levels, librarians, students, authors, editors, publishers and readers with widely varied interests. SFRA BENEFITS INCLUDE: EXTRAPOLA TlON. Quarterly. Oldest journal in the field with critical, his torical and bibliographical articles, book reviews, letters, occasional spe cial topic issues. *Science Fiction Studies. 3 issues per year. Critical, historical and bibliographical articles, review articles and reviews, notes, letters. Interna tional coverage with abstracts in French and English. Annual index. *SFRA Newsletter. Ten times yearly (or as directed by the Executive com mittee). Extensive book reviews, both fiction and non-fiction; review articles; listings of new and forthcoming fiction and secondary literature; letters, organizational news, calls for papers, work in progress, etc. *SFRA Directory. Annual. Lists members' names and addresses, phone num bers, special interests, etc. As a member you are also invited to: *attend our annual meetings, where pap-ers are presented, information is shared, and interests are discussed, all in a relaxed, informal environ ment. Much of the significant secondary literature is on display at bar gain prices. The Pilgrim and Pioneer Awards for distinguished contribu tions to SF or fantasy scholarship are awarded at a dinner meeting, which the winners normally attend. Many professional writers participate in the conferences. *participate in the association's activities by voting in elections, holding office, contributing to or reviewing for the Newsletter, and serving on committees. The annual membership dues cover only the actual costs of providing ben efits to members, and reflect a modest savings over subscriptions to the publications provided. Your dues may be a tax deductible expense.


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