Tanith Lee passed away in 2015, and at the time I worried that meant her work would quickly vanish from bookstores.
That hasn’t happened, and it’s mostly due to the efforts of her long-time publisher DAW Books, who over the last three years has gradually been returning some of her most popular work to print in gorgeous new paperback editions, including all five Flat Earth novels, the Wars of Vis trilogy, the Birthgravetrilogy, and the just-released novella collection Companions on the Road. Most have covers by French artist Bastien Lecouffe Deharme (website here).
I’m especially appreciative that DAW also saw fit to release a brand new short story collection of dark fairy tales, Redder Than Blood, last year. It’s a companion volume to Red as Blood, or Tales from the Sisters Grimmer (1983), a paperback original published by DAW with a Michael Whelan cover no less than twenty-five years ago (above right).
Last week was a significant one for the Big G. The first trailer for 2019’s Godzilla: King of the Monsters was unveiled at San Diego Comi-Con, displaying staggering scope and beauty set to the improbably perfect sound of Claude Debussy’s “Clair de lune.” Meanwhile, as fans salivated in anticipation of the next installment in the US Godzilla series after 2014’s Godzilla, the next Japanese Godzilla film made a quiet debut in North America via Netflix — Godzilla: City on the Edge of Battle (Gojira: Kessen Kido Zoshoku Toshi). It’s also a second installment: part two of a trilogy of animated Godzilla films from Toho Animation and Polygon Pictures that started with Godzilla: Planet of the Monsters.
I was roughly satisfied with Planet of the Monsters. It explored the theme of Godzilla as a deity and introduced intriguing science-fiction concepts, but it never found a solid adventure throughline for its apocalyptic Earth setting and left the potential of an animated Godzilla largely unrealized. City on the Edge of Battle makes forward strides as it deepens its SF backstory, now freed from having to go through the set-up that was necessary in the first movie. But as a Godzilla film, it still doesn’t work, and this makes me wonder exactly who the movie is targeted at. Godzilla fans? Anime fans? Science-fiction fans not-otherwise-specified? The last group may be the most satisfied, but I predict general dissatisfaction all around.
For those who came in late (and there’s no way to keep up with this movie unless you’ve seen Planet of the Monsters), here’s how events stood at the conclusion of Part One:
The remnants of the human race, in exile among the stars after Godzilla drove them off the Earth, choose to return to their homeworld and attempt to reclaim it from the monster. Although twenty years have passed on the refugee spaceship the Aratrum, over twenty-two thousand years have passed on Earth. Over the millennia, Godzilla’s biology has radically altered the ecosystem into a bizarre and hostile environment. With the assistance of two humanoid alien races, the mystical Exif and the technological Bilusaludo, the humans mount an offensive to destroy Godzilla. The plan of young Captain Haruo Sakaki succeeds — then immediately fails when it turns out the monster they killed (Godzilla Filius) was only an offspring of the original Godzilla that ravaged the planet (Godzilla Asu, “Godzilla Earth”). The true Godzilla emerges, grown in size and strength over thousands of years to unimaginable power. So was the fight all for nothing?
Jayge Carr was born Margery Ruth Morgenstern Krueger on July 28, 1940 and died on December 20, 2006.
In addition to her writing career, Carr worked as a nuclear physicist for NASA. Following her death from cancer, her remains were launched into orbit by Celestis.
“The Lady or the Tiger” was published by Charles C. Ryan in the Fall 1993 issue of Aboriginal Science Fiction after the magazine switched formats from a tabloid to a quarto format (standard magazine). The story has not been reprinted.
A missed stop of a city bus puts Alia in danger of being gang raped by a bunch of teenagers. When one of the teenagers momentarily objects, she is rescued by the timely arrival of the police, who take her savior into custody even as the other boys flee. In turn, Alia takes the boy under her wing and applies the Pygmalion treatment to him. However, as is quickly revealed, Alia is not what she appears and the situation is much more complex than anyone could guess.
All of Alia’s actions regarding Benny, as well as her responses to Rod O’Rourke, the police officer who first helped her and later wooed her, seem to be governed by a pair of aliens who are testing the humans. It eventually becomes evident that Alia is one of the aliens, trying to figure out if humans can subvert their own violent tendencies.
I’ve been buying up back issues of Science Fiction Eye, one of the better SF review zines of the 90s. SF Eye had a marvelous stable of hot young writers, including Bruce Sterling, Richard Kadrey, Paul Di Filippo, Pat Murphy, Gary Westfahl, Tony Daniel, Charles Platt, John Shirley, Jack Womack, Elizabeth Hand, Mark Laidlaw, and many others. I thought I’d enjoy revisiting the cutting edge genre journalism I found so thought provoking two decades ago, but what I really find entertaining this time around is the high quality reviews. Especially coverage of now-forgotten books like Colin Greenland”s Take Back Plenty (1990) the opening novel of his gonzo space opera trilogy featuring Tabitha Jute. Here’s a snippet of Sherry Coldsmith’s excellent review, from the Winter ’91 issue, which I bought on eBay last month for $7.50.
Take Back Plenty is a raid on the traditional space opera, a coup at the galactic palace. Its author has poked through the rubble of pulp SF, looking for the genre’s mermaids and Marie Celestes. Greenland’s pickings include a fecund Venus that chokes with unconquerable jungles, and an arid Mars scarred by canals. More modern tropes are also put to use: cyberjacks, talking corpses, titanic tin-can inhabitants that circle the Earth. Greenland has chucked away anything that requires scientific veracity and kept anything that possess mythic dazzle.
The protagonists are as fascinating as the background. Tabitha Jute is the owner-operator of a space vehicle, the sentient and personable Alice Liddell. These two soul sisters of the Sol system get into love and trouble in a world that Is a surreally logical as the one the bedeviled Lewis Carroll’s Alice.
Take Back Plenty won both the British Science Fiction and Clarke awards for Best Novel; it was followed by two sequels, Seasons of Plenty (1995) and Mother of Plenty (1998). Greenland’s last two books, Spiritfeather (2000) and Finding Helen (2003) appeared only in the UK. You can read Coldsmith’s complete review of Take Back Plenty (and the tail end of the enthusiastic notice of Crichton’s Jurassic Park) here — page 1 and page 2. See all our recent Vintage Treasures here.
In 500 Words or Less: An Ancient Peace by Tanya Huff
I love seeing characters in new contexts. An author creating a character who’s rounded and nuanced and thrilling to read about is something really special – characters like Harry Dresden, Millie Roper, Sira di’Sarc, or Logen Ninefingers. When an author can take that character, spin the world around them and let them thrive in an entirely changed environment – that’s something else entirely, and it’s phenomenal to see done well. Like moving Morgan to Fear the Walking Dead or Worf to Deep Space Nine.
And that’s exactly what Tanya Huff has done with Torin Kerr, formerly the star of the Confederation novels and now one of the central characters to the recently-concluded Peacekeeper trilogy. I’m a little behind the game in that I’ve only just read the first novel, An Ancient Peace, but damn if it wasn’t even more exciting and compelling than the previous Torin adventures I’ve read. In any long-running series, there are bound to be books that stand out and others that comparatively don’t measure up (much as I love The Dresden Files, not all fifteen are actual magic) but so far Huff consistently makes each novel even better than the last.
Gary Gygax was born Ernest Gary Gygax on July 28, 1938. He died on March 4, 2008. Although Gygax tried his hand writing fiction, he was best known as one of the creators of Dungeons and Dragons.
Gygax was inducted into the Origins Award Hall of Fame in 1980. In addition to Dungeons and Dragons(and Advanced Dungeons and Dragons) and various modules and accessories, Gygax also had a hand in creating the role playing games Boot Hill, Cyborg Commando, Dangerous Journeys, and Lejendary Adventure.
Gygax wrote “At Moonset Blackcat Comes” as an introduction to the character Gord the Rogue, about whom he had already written the novel Saga of the Old City, which would be published later. The story appeared first in the 100th issue of Dragon, edited by Kim Mohan. Accompanying the story were the rules to the game Dragonchess, described in the story. Although Gygax published a series of five Gord the Rogue novels, plus the short story collection Night Arrant, “At Moonset Blackcat Comes” was not included in the collection and has not been reprinted elsewhere.
The story introduces the main character and his barbarian companion while also trying to give the reader a feel for the way the City of Greyhawk, alluded to in many of Gygax’s AD&D articles and modules, is set up. Rather than exploring the city, however, Gygax quickly separates Gord from his companion and the city, setting the action, such as it is, in a sporting house, with Chert the barbarian going off to find female companionship while Gord settles in with Rexfelis to learn to play a chess alternative.
While Gygax is clearly trying to make Gord a likable character who is extremely competent and sure of himself, he comes across as arrogant, placing his own amusement and desires above those, like Chert, with whom he has surrounded himself. Although Gord is on guard against being taken in the game of Dragonchess, it is clear that Rexfelis had been playing Gord throughout the evening with the eventual end of using Gord to rob Rigello the arch-mage, a task Gord readily accepts.
The hit Hulu series The Handmaid’s Tale has brought a whole new generation of readers to Margaret Atwood’s 1985 dystopian novel — and spawned a growing subgenre.
One of the more interesting to me is Pakistani author Bina Shah’s upcoming Before She Sleeps, which Kirkus Reviews calls “a novel that is in explicit conversation with The Handmaid’s Tale… an overdue enlargement of the cultural conversation that Atwood’s novel continues to provoke.” The book has received considerable pre-publication buzz, and Publishers Weekly calls it “A haunting dystopian thriller.” Here’s the description.
In modern, beautiful Green City, the capital of South West Asia, gender selection, war and disease have brought the ratio of men to women to alarmingly low levels. The government uses terror and technology to control its people, and women must take multiple husbands to have children as quickly as possible.
Yet there are women who resist, women who live in an underground collective and refuse to be part of the system. Secretly protected by the highest echelons of power, they emerge only at night, to provide to the rich and elite of Green City a type of commodity that nobody can buy: intimacy without sex. As it turns out, not even the most influential men can shield them from discovery and the dangers of ruthless punishment.
This dystopian novel from one of Pakistan’s most talented writers is a modern-day parable, The Handmaid’s Tale about women’s lives in repressive Muslim countries everywhere. It takes the patriarchal practices of female seclusion and veiling, gender selection, and control over women’s bodies, amplifies and distorts them in a truly terrifying way to imagine a world of post-religious authoritarianism.
Bina Shah has written two collections and three previous novels, including A Season for Martyrs and the international bestseller Slum Child.
Before She Sleeps will be published by Delphinium on August 7, 2018. It is 256 pages, priced at $25 in hardcover and $17.99 for the digital version.
Birthday Reviews: Lawrence Watt-Evans’s “The Man for the Job”
Watt-Evans’s short story “Why I Left Harry’s All-Night Hamburgers” was nominated for the Nebula and Hugo Awards in 1988 and won the Hugo Award. Watt-Evans was nominated for a second Hugo Award for best semi-prozine, as the co-editor, along with William Sanders, of Helix SF in 2008. Watt-Evans has published under the names Nathan Archer and Walter Vance Awsten. He has collaborated with Brenda Clough, Kurt Busiek, Christina Briley, Julie Evans, Esther Friesner, and Carl Parlagreco, and Dean Wesley Smith & Kristine Kathryn Rusch.
“The Man for the Job” was published in the December 2000 issue of Realms of Fantasy, edited by Shawna McCarthy. The story has not been reprinted has also appeared in The Lawrence Watt-Evans Fantasy MegaPack.
Watt-Evans takes on several fantasy standard tropes in “The Man for the Job.” The story opens with five siblings meeting with a wizard to get help in ridding themselves of an evil dragon. The group includes four brothers and their sister, who is insistent that they include her since her livelihood is at stake as well as theirs. The wizard, Gallopius, talks about magic items with them, noting that in days of yore, wizards hid magic items in strange, exotic, and stupid places where the wizards wouldn’t be able to retrieve them when needed. While Gallopius can lay hands on all his own enchanted items, they will need to complete a quest to find the Helmet of Balanced Justice to defeat the dragon.
The quest also subverts the typical quest story. The helmet is located relatively near to Gallopius’s home, and was hidden three hundred years earlier, protected by three guardians. Although Gallipius is able to tell them the nature of the guardians, they are not ready for the state they are in. Watt-Evans takes the idea of a centuries old protection to its logical conclusion, as all three guardians have failed to withstand the ravages of time and they manage to retrieve the helmet with some ease.
The 2018 World Fantasy Awards Ballot, containing a whole bunch of books I haven’t read yet, has just been announced. The ballot is compiled by the voting attendees of the World Fantasy Convention, all of whom clearly read a lot more than I do. Where do they find the time? Don’t they have blog posts to write, like normal people?
At least I have my membership for the convention, so I’ll be there to watch all the excitement unfold. It’s still a few months away, so I a little time to get caught up. Wish we luck.
As has been tradition since 1998, the coveted Life Achievement Award is being given to two recipients. This year they are Canadian author Charles de Lint and DAW Editor-in-Chief Elizabeth (Betsy) Wollheim. Both are fine selections, richly deserving of this recognition.
The winners in every other category will be selected by a panel of judges. Here’s the complete list of nominees, with links to our previous coverage.
It’s a sad day for Madrid, especially for the barrio of Malasaña. The last video store in the neighborhood has closed. After 14 years of swimming against the tide, Ficciones closed a month ago today. I haven’t been able to rent a video since.
Sadly, I might not have rented one even if it had remained open. I liked Ficciones, don’t get me wrong, but with all the oldies available for free on YouTube and Archive.org, plus all those wonderful series on Netflix, a local video store was more of a nice idea than a regular shopping experience.
And it’s only now that I’m realizing how much I and everyone else screwed up.
