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A Treasure Trove of Classic Science Fiction & Fantasy: The Collected Short Works of Poul Anderson

A Treasure Trove of Classic Science Fiction & Fantasy: The Collected Short Works of Poul Anderson

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The Collected Poul Anderson 1 Call Me Joe-small The Collected Poul Anderson 2 The Queen of Air and Darkness-small The Collected Poul Anderson 7 Question and Answer-small

By the time of his death in 2001, Poul Anderson was at the top of the field, with over 70 novels and numerous short stories to his credit. He’d won virtually every award science fiction has to offer, including seven Hugos and three Nebulas. In the 16 years since, however, virtually all of his work has fallen out of print. And like most of the greats of 20th Century science fiction, he’s now in very real danger of being forgotten.

Thank goodness for NESFA Press. Their ongoing project, The Collected Short Works of Poul Anderson, currently at seven volumes and counting, gathers the very best of his short fiction, including all of his Hugo and Nebula nominated and winning short stories. NESFA has produced some stellar collections over the past few decades, celebrating the work of Roger Zelazny, John W. Campbell, Fredric Brown, Zenna Henderson, Cordwainer Smith, C.M. Kornbluth, and countless others, with gorgeous permanent edition hardcovers.

Like each of those, these new volumes have made hard-to-find fiction available and fresh all over again, introducing Anderson to a whole new generation. The latest installment, The Collected Short Works of Poul Anderson, Volume 7: Question and Answer, collects five novellas, two novels, and a smattering of short works, including six tales of Dominic Flandry, agent of the Terran Empire, and two stories of the far-ranging Psychotechnic League. It was released in hardcover in February.

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Vintage Treasures: The Ace Novels of Patricia C. Wrede

Vintage Treasures: The Ace Novels of Patricia C. Wrede

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Lyra series Patricia C Wrede-small

On Thursday I was carefully stacking books in the vast subterranean treasure vault known locally as the Cave of Wonders (and which my wife calls, much more prosaically, our basement), when I found something unusual: a stack of unopened boxes. That’s a mystery worth investigating. I carted them back through winding tunnels and secret passageways until I reached our library, and pried them open with a crow bar.

Wonder of wonders! They were packed with vintage paperback and strange magazines. It’s like Christmas!

They were doubtless eBay booty that got hastily stashed in the basement because company was coming over five years ago, or something similar. Who knows. I have no recollection of them, so it’s like getting a surprise package from my former self. And, man. What great taste that guy has! There was an odd assortment of magic magazines from the early 1970s (chiefly The Linking Ring, which is packed with the most fabulous ads for trick cards, books, and neato magic books), a set of DAW volumes by Neal Barrett, Jr., and the collection of 80s Ace paperbacks by Patricia C. Wrede pictured above.

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Future Treasures: The Queen of Swords, Book 3 of the Golgotha Series, by R.S. Belcher

Future Treasures: The Queen of Swords, Book 3 of the Golgotha Series, by R.S. Belcher

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The-Six-Gun-Tarot-smaller The Shotgun Arcana-small The Queen of Swords RS Belcher-small

R.S. Belcher’s last novel, The Brotherhood of the Wheel, was selected as one of the best horror novels of the year by the Barnes & Noble Sci-Fi & Fantasy Blog. For his next novel, he returns to Golgotha, the Weird Western setting of The Six-Gun Tarot (which RT Book Reviews called “Fascinating… like a mashup of Buffy the Vampire Slayer and Deadwood,”) and The Shotgun Arcana (“Golgotha is the wildest of the Wild West, attracting mystics, minor deities, alchemists, seers, and fanatics in a fantastical romp” — Publishers Weekly). It arrives in hardcover from Tor later this month.

1870. Maude Stapleton, late of Golgotha, Nevada, is a respectable widow raising a daughter on her own. Few know that Maude belongs to an ancient order of assassins, the Daughters of Lilith, and is as well the great-great-great-great-granddaughter of Anne Bonney, the legendary female pirate.

Leaving Golgotha in search of her daughter Constance, who has been taken from her, Maude travels to Charleston, South Carolina, only to find herself caught in the middle of a secret war between the Daughters of Lilith and their ancestral enemies, the monstrous Sons of Typhon. To save Constance, whose prophetic gifts are sought by both cults, Maude must follow in the footsteps of Anne Bonney as she embarks on a perilous voyage that will ultimately lead her to a lost city of bones in the heart of Africa ― and the Father of All Monsters.

One of the most popular characters from The Six-Gun Tarot and The Shotgun Arcana ventures beyond Golgotha on a boldly imaginative, globe-spanning adventure of her own.

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The Play’s The Thing

The Play’s The Thing

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Leiber Ghost LightHere at Black Gate we often have posts on films and TV shows as they connect with or pertain to our favorite genre(s). If we don’t talk as much (or at all) about live drama, it’s probably because there’s not as much SF or Fantasy happening on the stage as there is on the screen. I’d think we’d all agree that with a very few exceptions stage effects are simply not equal to the kind of special effects SF and Fantasy often need.

But if we don’t see our favourite novels and stories on the stage, we certainly do see the opposite: we see the stage in our novels and stories.

We’re all familiar with the “play within a play” concept since we had to read Hamlet in high school. After all, practically every Fred Astaire movie musical is about a musical production, and there can’t be anyone alive who doesn’t know that Singing in the Rain is about making a movie musical. But again, what I’m looking at here is play-within-the-story. We should note that if we follow in Shakespeare’s footsteps, the device has to have purpose. In Hamlet, the play was “the thing to catch the conscience of the king,” that is, it played an integral part of the plot. The same should be true if we see the device in a short story or novel.

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Princesses, Space Battles, Monsters and Aliens: The Sirantha Jax Novels by Ann Aguirre

Princesses, Space Battles, Monsters and Aliens: The Sirantha Jax Novels by Ann Aguirre

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Grimspace Wanderlust Doubleblind Sirantha Jax

I love adventure science fiction, but I’m a little shy of all these open ended series. I want to fall in love with a series, sure… but do I want to fall for a publishing endeavor with an uncertain future, one that could easily be derailed by an author illness, a fickle market, publishing setbacks or other unexpected tragedy? Who needs that anxiety and potential heartache? Not me; I have three teenagers.

Which leaves me in a bit of a quandary, since most of the adventure SF I like tends to be part of series. But there are a few completed story arcs, out there — not many, but a few. Successful series that have wrapped up with a beginning, middle, and an end. And one of those is Ann Aquirre’s 6-volume Sirantha Jax cycle, a far-ranging space opera in a well-realized universe that left fans happy with a satisfying concluding volume.

My friend Sharon Shinn was one of the first to alert me to these books, with her review of the opening volume Grimspace: “Sirantha Jax doesn’t just leap off the page — she storms out, kicking, cursing, and mouthing off. No wonder her pilot falls in love with her; readers will too.”

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New Treasures: The Valancourt Book of Horror Stories, Volume One, edited by James D. Jenkins and Ryan Cagle

New Treasures: The Valancourt Book of Horror Stories, Volume One, edited by James D. Jenkins and Ryan Cagle

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The Valancourt Book of Horror Stories-smallNow here’s an interesting idea — a collection of horror stories showcasing the work of a single publisher.

How appealing is that? Depends on the publisher. In the case of Valancourt Books, an independent small press specializing in the rediscovery of rare, neglected, and out-of-print Gothic, Romantic and Horror fiction, it’s very appealing indeed. Here’s a snippet from the Editor’s Forward to give you a taste.

Since 2005, Valancourt Books has made available almost 40 neglected classics by dozens of authors, most of them out of print for decades, sometimes even for a century or two. Our catalogue includes Gothic novels from the late 1700s and early 1800s, Victorian ‘penny dreadfuls’ and ‘sensation’ novels, vintage mystery and horror fiction from the 1920s, ’30s and ’40s, rediscovered gay interest fiction from the mid-20th century, and more recent horror and science fiction from the 1970s, ’80s and ’90s. The idea behind this anthology was, “What if we distilled the best of each part of our catalogue into a single volume? What would a horror anthology spanning two centuries, and featuring only Valancourt authors, look like?”

This book has something for fans of each section of our catalogue. Those who have enjoyed our Gothic Classics series will surely find Matthew Gregory Lewis’s rare ghost story in verse, “The Grim White Woman,” to their liking. If, like us, you love a good, old-fashioned Victorian horror story, you’ll relish the creepy tales we’ve included by authors hugely popular in the day but now little known, like Florence Marryat, Richard Marsh and Mary Cholmondeley. Readers who have appreciated our efforts to rediscover lost gay fiction will be pleased to find contributions from authors such as Forrest Reid, Hugh Walpole and Francis King in this volume. Of course, no horror anthology would be complete without stories from some of the great contemporary masters of horror like Michael McDowell, Bernard Taylor and Stephen Gregory. But perhaps the biggest surprise for some readers will be the excellent tales by writers not normally thought of as “horror authors,” like Christopher Priest, Michael Blumlein and Francis King.

Here’s the complete Table of Contents.

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Vintage Treasures: World’s Best Science Fiction 1965 – 1970, edited by Donald A. Wollheim and Terry Carr

Vintage Treasures: World’s Best Science Fiction 1965 – 1970, edited by Donald A. Wollheim and Terry Carr

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Ace Best Science Fiction of the Year 1965 1970-small

If you’ve been paying attention over the past two months, you’re probably aware that we’re deep into the Year’s Best Science Fiction season. So far this year Solaris, Night Shade, and Prime Books have all released Best of the Year anthologies (edited by Jonathan Strahan, Neil Clarke and Rich Horton, respectively), and in the next few months we can expect additional volumes by Gardner Dozois, John Joseph Adams, Ellen Datlow, Paula Guran, Stephan Jones, and others.

Now I know what you’re thinking. What the heck, world? My favorite fantasy series gets canceled after three volumes, but eight publishers happily produce Best of the Year anthologies every single year? How is that even possible? And you know, that’s not a bad question. How did we get to the point where the market is willing to bear so many books that all claim to contain the best science fiction of the year?

Everett F. Bleiler and T.E. Dikty are widely credited with creating the first such anthology, The Best Science Fiction Stories: 1949. But our current appetite for Best of the Year volumes can be traced back to Donald A. Wollheim and Terry Carr, two of the most important editors our field has ever seen. Starting in 1965 and running until Wollheim’s death in 1990, together and separately Wollheim and Carr produced over 50 Best of the Year volumes, and in the process they shaped the direction of short fiction in the genre for generations to come. Their books were of such high quality that they were must-reads for all serious fans of science fiction and fantasy. Year after year the Carr and Wollheim anthologies were absolutely indispensable, and if you enjoy the rich assortment of modern Best of the Year editions, you can trace our modern enthusiasm for the format directly back to these two men.

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“A World Gone to the Dogs”: City by Clifford D. Simak

“A World Gone to the Dogs”: City by Clifford D. Simak

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These are the stories that the Dogs tell when the fires burn high and the wind is from the north. Then each family circle gathers at the hearthstone and the pups sit silently and listen and when the story’s done they ask many questions:

“What is Man?” they’ll ask.

Or perhaps: “What is a city?”

Or: “What is a war?”

from the Editor’s Preface to City

oie_671529XHRO0a33City (1952), by Clifford D. Simak, unfolds over thousands of years, telling of the end of humanity, the rise of dogs and robots to terrestrial preeminence, and finally, the near abandonment of Earth. It’s a fix-up of nine stories, eight written between 1944 and 1951, and one more, added to later editions, in 1973. It is a book conceived of in anger and despair, yet one that strives to posit a better, more humane world — even if it’s one devoid of humans.

Perhaps because we, by which I mean the post-WW II generations, have grown up aware of the deepest, most evil tendencies of humanity, it’s difficult to appreciate completely the anger and despair over what happened during the 1930s and 40s. Years after its publication, Simak said:

“The series was written in a revulsion against mass killing and as a protest against war.”

That revulsion was so intense that Simak contemplated the extinction of his own species and its replacement by a better one.

I suppose following the First World War, there was some hope that humanity would avoid that sort of mass slaughter again. Instead, it only increased by many magnitudes. In an essay on City, Robert Silverberg wrote that the story “Desertion” was written in 1943 in direct response to reports from Europe about the Holocaust. Simak was a gentle writer, so there is little anger or bitterness in the novel, but he wasn’t prone to sentimentality either. His depiction of humanity’s downfall and supplantation is remorseless.

When Simak collected the stories, he presented them as a tales told by dogs to each other as perhaps no more than legends. For each story, Simak wrote an interstitial explaining what different dog philosophers thought about the veracity of each story, as well as any meaning it might hold for their society.

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Self-published Book Review: Clearwater Dawn by Scott Fitzgerald Gray

Self-published Book Review: Clearwater Dawn by Scott Fitzgerald Gray

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Clearwater Dawn — Ebook CoverI just spent the weekend on a ship, with very limited Internet access, so I’m afraid this month’s review is a bit late. The good news is that there is a self-published book review this month. I’d like to keep the monthly schedule going, so please keep sending me books to review–see the instructions here. 

Clearwater Dawn by Scott Fitzgerald Gray is a love story. It’s about the love between the half-Ilvani orphan Chriani and Lauresa, the daughter of an Ilmar prince and a sorcerous Leisanmira.

Chriani is the apprentice of Lauresa’s warden, Barien. At the age of eighteen, Chriani should have his own commission, but his temper, and Barien’s outsider status at court, have left him an unranked tyro. Despite this, he is very good at his job, aided by the preternatural senses he inherited from his Ilvani father, and the training in moving quietly and picking locks he received from his mother.  On a night of betrayal and death, Barien is murdered, and Prince Chanist marches off to war against the Valnirata Ilvani war clans. Chriani is left behind, unofficial guardian of the princess, sole keeper of Barien’s last words. When Lauresa hears them, and learns that Chriani was unable to share them with the prince before he left, she heads out to make sure her father learns of the betrayal Barien revealed. Chriani catches up with her before she gets far, and accompanies her to find her father, who may know more than they expect.

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Future Treasures: A Gathering of Ravens by Scott Oden

Future Treasures: A Gathering of Ravens by Scott Oden

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A Gathering of Ravens-small A Gathering of Ravens-back-small

Scott Oden is the author of two celebrated historical novels, Men of Bronze (2005) and Memnon (2006), and the historical fantasy The Lion of Cairo (2010). His first novel in seven years is the ambitious historical fantasy A Gathering of Ravens, which author John Gwynne (The Faithful and the Fallen) calls “A magnificent mytho-historical saga, blending the history of 11th century Europe with Norse and Celtic mythology. A dark, grim and unrelentingly bloody tale of the last Orc and his quest for vengeance.” It arrives in hardcover from Thomas Dunne Press later this month.

To the Danes, he is skraelingr; to the English, he is orcnéas; to the Irish, he is fomoraig. He is Corpse-maker and Life-quencher, the Bringer of Night, the Son of the Wolf and Brother of the Serpent. He is Grimnir, and he is the last of his kind ― the last in a long line of monsters who have plagued humanity since the Elder Days.

Drawn from his lair by a thirst for vengeance against the Dane who slew his brother, Grimnir emerges into a world that’s changed. A new faith has arisen. The Old Ways are dying, and their followers retreating into the shadows; even still, Grimnir’s vengeance cannot be denied.

Taking a young Christian hostage to be his guide, Grimnir embarks on a journey that takes him from the hinterlands of Denmark, where the wisdom of the ancient dwarves has given way to madness, to the war-torn heart of southern England, where the spirits of the land make violence on one another. And thence to the green shores of Ireland and the Viking stronghold of Dubhlinn, where his enemy awaits.

But, unless Grimnir can set aside his hatreds, his dream of retribution will come to nothing. For Dubhlinn is set to be the site of a reckoning ― the Old Ways versus the New ― and Grimnir, the last of his kind left to plague mankind, must choose: stand with the Christian King of Ireland and see his vengeance done or stand against him and see it slip away?

Scott Oden’s A Gathering of Ravens is an epic novel of vengeance, faith, and the power of myth.

A Gathering of Ravens will be published by Thomas Dunne Books on June 20, 2017. It is 326 pages, priced at $27.99 in hardcover and $14.99 for the digital edition. The cover is by James Iacobelli. Read an excerpt here.