Holy cow! We’re into double digits of my reread of the X-Men story that began in 1963. I include a full set of links to the post series at the bottom of this post. As we saw last time, some later creators have had some fun in writing stories that fit into those empty years between 1970 and 1975 when X-Men was just a reprint title. One of the most famous is John Byrne’s 1999-2001 series X-Men: The Hidden Years.
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Covers by Stephen Youll
I’ve come to rely on Goodreads more and more often for unbiased book reviews. It started two years ago, while I was religiously checking the great feedback on my just-released The Robots of Gotham. Goodreads is filled with amateur reviewers, but I discovered many of them had spot-on critiques of my first novel. Always a pleasure to see those 4- and 5-star reviews of course, but in the end I found those readers able to articulate problems were far more valuable.
Yes, you’ll always find the occasional 1-star, 1-word review (“Unreadable’ was my favorite), but I was able to get something useful out of pretty much every other negative review, and quite a bit more than that from many. In fact, one of the best insights on my book came from a negative review by Goodreads member Jrubino, who wrote:
The complexity and depth of this novel is wonderful, yet its impact is greatly diminished by a video-game pacing… this formula is tiresome. That’s too bad as the world-building is unique and interesting.
I think that’s right on point, and it’s exactly the kind of thing I need to hear as I plunge into writing the second book. I’m fond of the way I set up The Robots of Gotham, with all my main characters trapped in a Chicago hotel in the middle of an unfolding robot apocalypse, but — as several readers have helpfully now pointed out — chapter after chapter, that constant “action and return” becomes repetitive, especially in a longer book. If I can fix that in The Ghosts of Navy Pier — and I’m pretty sure I can — I think it’ll be a much better book.
Goodreads has become enormously useful as a broad measure of public opinion, which is a darn useful thing for a writer trying hard to get better. And surprise, surprise… it’s also pretty useful when you’re looking for a good series to read, like Timothy Zahn’s Sibyl’s War trilogy, which wrapped up this month with the release of Queen.
Hopefully you read posts one and two in this series. Over at The Wolfe Pack Facebook Group page, I am doing daily entries from Archie’s notebooks, as he endures Stay at Home with Nero Wolfe in these pandemic days. As I prepare this, I have done a daily post for 28 straight days, totaling 27,067 words. At just under 1,000 words a day, it’s been quite an effort! I expanded today’s post to three days, since I’ll never catch up, doing one Black Gate post a week.
DAY FIVE – 2020 Stay at Home (SaH)
Did you know that the Latin ‘mortuus’ is the root of mortuary? And that mortuary replaced deadhouse as the name of the place where they kept the dead? I do, because I heard all about it at the evening meal. Wolfe’s dinner table conversation is stuck in morbid.
Archie’s Thought of the Day – You might think that in a household of four males, I would organize a card game to help pass the time. In This household, you would think wrong.
Only one near-battle today. At lunch, Wolfe suggested we let Theodore start joining us for dinner. I flat-out refused. I told him I would eat at my desk first. Writing about it now, I will admit, it was not my finest hour. But there is no way I could enjoy supper, even it being Fritz’s incredible cooking, with Horstmann sitting there with me. I don’t hate him in a Rowcliffe-sort of way, but there’s just something about him that I don’t like. Never have. Sort of like a teammate you don’t like. You tolerate him, but you spend as little time around him as you can. Wolfe saw that I was serious, and he knew trading me for Theodore wasn’t a good deal, so he dropped it.
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Each year around this time I experience a fit of jealousy for those lucky few individuals who receive a Stoker Award from the Horror Writers Association (HWA). Not only are there far fewer of them than Oscars or Emmys, but let’s be honest, they are far cooler to look at. Interestingly enough, you will never find one for sale or auction, as clearly horror writers at this level are never hard up enough for money to sell their trophies (believe me, I’ve looked). When you Google “replica Oscar statues for sale” you find nearly 2 million hits… but can you guess how many hits you get when you Google “replica Stoker awards for sale”?
Exactly zero.
That’s right – no cheesy dollar-store models of this little gem. No inflatable, larger-than-life Stokers, no Stoker costumes, no Stoker greeting cards. And why is that? Because it’s rare and amazing and too incredible for words, in spite of the fact I’d pay big bucks, even one made by those ceramic Christmas house people (if any of those are listening).
Nope. Only the best of the best, of the best, get to take home a Stoker. Back in January I gave you the list of lucky nominees. Little did I know we’d all end up with plenty of time to read each and every one. This week the HWA dashed the hopes of most writers on that list to arrive at 12 winners and the subsequent “finalist nominees” who do not get to go home with the coolest award ever created. In fact, this year they are at least spared the agony of having their pictures taken next to the winner, standing near to, but not being allowed to touch the coveted Stoker award.
Sigh.
So, without further pontificating, here are the talented winners, and the finalists…
A Canticle for Leibowitz by Walter M. Miller, Jr. First Edition: J.B. Lippincott, 1959.
Cover by Milton Glaser (click to enlarge)
A Canticle for Leibowtiz
by Walter M. Miller, Jr.
J.B. Lippincott (320 pages, $4.95 in hardcover, 1959)
This 1959 novel is one of the most popular and celebrated science fiction novels of all time. It won a Hugo Award and has a long list of critical citations. It’s set in the years following an atomic war, it portrays religion in a relatively favorable way (in contrast to the dismissive attitude of much other SF), and it dwells on the theme of man’s destiny, and its possibly inevitable fate in cycles of building and self-destruction. It’s sober and deadly-serious in parts, and it’s also quite funny in parts, which I hadn’t remembered since reading it decades ago. Something else I discovered when rereading recently: it doesn’t end the way I remembered that it did.
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Every month for roughly the past 40 years I’ve made a pilgrimage to the nearest newsstand to purchase my favorite fiction magazines. The newsstands have changed over the years, and the mix of magazines has too. But it’s a tradition I’ve come to cherish.
Well, this is a time of broken traditions. All the local bookstores are closed (not that there were many to begin with), and I find myself at a loss. New issues of Asimov’s SF, Analog, and The Magazine of Fantasy and Science Fiction are now available, at least in theory. In practice, I have no way to buy them. And according to their various websites this batch is particularly enticing, packed with new stories by Ian R. MacLeod, Eleanor Arnason, Ian Watson, Bruce McAllister, R. Garcia y Robertson, Dominica Phetteplace, Neal Asher, Derek Kunsken, Richard Bowes, M. Rickert, Bruce Sterling, Robert Reed, and many others. And for the first time in decades, it looks like I’ll miss out.
When I griped about this on Facebook today, there were plenty of sympathetic suggestions. Mark Tiedemann endorsed an independent bookstore that mailed ordered single issues… but it has abruptly stopped carrying magazines. Mark Shainblum suggested digital issues… but I have nearly nine solid decades of print issues of Astounding/Analog, and it sure doesn’t feel right to give up now. Adrian Simmons shared my pain, and suggested he might subscribe, even if sub copies do come with an ugly mailing label. And Darrell Schweitzer shared the hard-won secret of removing those damn mailing labels with a damp cloth.
It was comforting to have so many folks commiserate. And I suppose, in the end, the right thing to do in these tough times is to support the magazines with a subscription. And that’s what I’ll do. If you love — or are curious about — short fiction, I hope you’ll consider doing the same. You can shop for digital and print subscriptions at the Asimov’s SF, Analog, and F&SF websites. Check out the editorial descriptions for each issue below.
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Cover art by Kekai Kotaki
Suzanne Palmer won a Hugo Award for her 2018 Clarkesworld novelette “The Secret Life of Bots,” and her 2019 debut novel Finder was widely praised. Kirkus Reviews called it “A nonstop SF thrill ride until the very last page,” and Maria Haskins at the B&N Sci-Fi & Fantasy Blog sums it up as “a Ridiculously Fun Science Fiction Adventure… a rollicking ride from a hardscrabble space colony at the outer edge of the galaxy to the conflict-ridden settlements of colonized Mars and back again.”
The highly anticipated sequel Driving the Deep arrives in hardcover in two weeks, featuring the return of interstellar repo man and professional finder Fergus Ferguson in what sounds like a standalone adventure. Publishers Weekly seems to like it.
Palmer’s spaceborne repo man Fergus Ferguson returns in this lighthearted star-skipping adventure through a futuristic solar system… Fergus is on Earth for the first time in years when he learns that his friends, a team of engineers who man the shipyard on Pluto, have been kidnapped for their scientific expertise. He tracks them to Enceladus, a watery moon of Saturn, where they are being held hostage. Fergus goes undercover to gather intel, taking a job as the pilot of an underwater vessel and making many allies (and a handful of enemies) along the way…
We discussed Finder here. Driving the Deep will be published by DAW Books on May 5, 2020. It is 426 pages, priced at $27 in hardcover and $13.99 in digital formats. The cover is by Kekai Kotaki. Read an excerpt from Chapter One of Finder at the Penguin Random House website.
See all our coverage of the best in upcoming SF and fantasy books here.
Varney the Vampire or the Feast of Blood
In the six years that I’ve been writing for Black Gate (Mr. O’Neill says that my basement cubicle will be ready any day now and I’ll be able to stop working out of my car – oh, wait a minute… I just got a memo that says that due to the current crisis, not only will I be staying in my car, now I’ll be working from the trunk), I’ve written about a lot of books, and when selecting a volume to blather about I’ve had only two simple rules. When I write about a book, it must be one that I like, and it must be one that I have actually read.
I will admit to once or twice breaking the first rule; it can be a lot of fun teeing off on a bad book, seeing just how witty you can be at its expense. By and large, though, the Black Gate mission is a celebratory one. I think we all keep coming back here to find new things to love, not new things to hate, which are already being thrust upon us every minute of our lives.
As for the second rule, that might seem so obvious as to not need to be stated, but haven’t we all finished reading a review of some work we happen to be familiar with and thought, “There’s no way that reviewer can have actually read that book!” (That never happens here, of course.)
My friends, today you are privileged to be present at a historic event. I am now going to break both rules. I don’t like Varney the Vampire, and I make this judgment without having read it – or not read it completely, anyway. My Wordsworth paperback edition runs to 1,118 pages and my bookmark currently rests at page 541. Fine, you say; just push on and finish the thing and then say your peace. Well… I can’t. I just can’t.
I’ve always liked this image. I got this from 1001freedownloads.com.
Good morning, Readers!
First, let me preface this by noting that I grew up in the 80s and 90s, where the concept of masculine heroism was, let’s be perfectly honest, pretty damned toxic and one-dimensional, two at most. With the the depictions of male characters from that era falling into two main tropes; the skirt-chasing misogynistic jock hero type; the hyper violent, suffers no consequence for the terrible shite they’ve experienced, whose writers conflated arrogance and misogyny for charm and charisma, or the “nice” nerd (with often the exact same shortcomings as the jock hero type), depending on the story being told, I find myself so often struck by the change I’ve seen in male characters in recent times.
Also, I am wildly aware that the above tropes were not completely universal in the 80s and 90s, but it was prevalent enough that now, when I see how male characters are written now, the difference is absolutely striking.
And I’m here for it.
There are several characters who’ve made it plain that this outdated, toxic perception of masculinity is changing, and I’d like to take the time to celebrate them. I’m drawing a lot from film and video games, as those are the mediums which often lack the time and space to explore characters as fully as they do in books.
Anyway, here I go.
I’m a bit worried about Hank Davis, to be honest with you. After we covered a few of his excellent early anthologies for Baen Books he reached out, and for several years we conducted a lively correspondence. We even helped him out when he was looking for content for his next book, Space Corsairs, due out later this year.
But one night last July, before heading to bed, he sent me a note confessing that it was getting harder and harder for him to read email due to ongoing eye problems. That was the last time I heard from him.
I’ve complained (to just about anyone who will listen) over the last few years about the demise of the mass market reprint anthology. The exception that proves the rule has been Hank. He’s edited many excellent ones in the past few years, including Things from Outer Space, If This Goes Wrong…, and especially Space Pioneers, also edited with Christopher Ruocchio.
In the past decade, in fact, Hank has produced over a dozen top-notch SF anthologies, and he’s proven to be one of the most entertaining and reliable editors this industry has. I hope his career has not been cut short by eye problems, or indeed, by health problems of any kind.
Hank has vanished from email and social media, but I was very pleased and relieved to see that the most recent anthology he delivered to Baen, co-edited with Christopher Ruocchio, arrive in bookstores (those few that are open) earlier this month. Overruled, which Hank described to me as “law and lawyers in space,” is a fat 400-page volume containing new and reprint fiction from Arthur C. Clarke, Clifford D. Simak, Robert A. Heinlein, Robert Sheckley, Larry Niven, Robert Silverberg, Tony Daniel, Susan R. Matthews, Algis Budrys, and many others. It’s the kid of fun, far-ranging volume that Baen (and Hank) specialize in, and it reminds me very much of the old days, when a great SF anthology was a sure-fire way to discover at least 2-3 new writers you’d enjoy.
Here’s the description.