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More Haffner Goodness: Detour to Otherness

More Haffner Goodness: Detour to Otherness

detour-to-otherness1Yesterday’s deliveries here at the Black Gate rooftop headquarters yielded — among the usual bills, magazines, and spare parts for the plutonium-powered signal beacon — a review copy of Detour to Otherness, by Henry Kuttner & C.L. Moore.

Hallelujah!  I’ve been looking forward to Detour since I first saw the dust jacket at Steve Haffner’s table at the Windy City Pulp & Paper show in April. It collects twenty-four stories of science fantasy and terror by the legendary husband and wife team, with a new intro by Robert Silverberg and an afterword by Frederik Pohl.

Of course, I probably won’t get to keep it.  Not unless I can distract Howard Andrew Jones, who will almost certainly gleefully take it back to Indiana to write a review (Hey Howard! Look at this!!)

Detour to Otherness shows the usual care and craftsmanship of all of Haffner’s titles. The core of the book is the 1961 Bypass to Otherness, the famous paperback collection of many of Kuttner and Moore’s finest stories, drawing from Kuttner’s popular  “Gallegher Galloway” series, featuring a quirky scientist who invents technical marvels only while drunk, his comedic  “Hogbens” stories of otherworldly hillbillies, and the “Baldy” tales about mutant telepaths. It was followed by Return to Otherness in 1962, containing eight more stories. Both paperbacks are valuable collector’s items today. Detour to Otherness assembles both Bypass to Otherness and Return to Otherness, plus eight additional stories “selected for their scarcity, quality, and sheer entertainment value.”

Kuttner’s “Gallegher Galloway” stories were collected by Paizo in Robots Have no Tails (reviewed for us by James Enge here), and Paul Di Filippo recently reviewed Moore’s seminal collection Judgment Night for us here.  But both books are dwarfed by this thick new volume.  If you’re a fan of science fantasy, you’ll want to add this to your collection.  It’s available from Amazon.com, or directly from Haffner Press, for just $40 for an archival-quality hardcover packed with 568 pages of classic fiction.

The Collecting Game: The Windup Girl for $950?

The Collecting Game: The Windup Girl for $950?

damnation-game1Collector prices are not always rational, as I think most collectors know. They can be fueled by hysteria. As many collectors have noticed, Clive Barker futures are very soft these days. Only the first British hardcovers of the Books of Blood and the British first of The Damnation Game have retained their value. There was a time, within a year or so of publication, when the advance galley of the American edition of Weaveworld could easily bring a hundred dollars. The last time I sold one, I bought it for $1.00 and got $10.00; but that was years ago. Nowadays you would be lucky to get five dollars for a copy. American firsts of Barker, or even galleys of same, are virtually worthless.

I will also mention with some trepidation that Harlan Ellison futures are weakening significantly, and I that have just concluded, on the basis of some research, that the bottom has fallen out of the Pogo market in the past few years. (I sold some Pogo first edition paperbacks for George Scithers maybe 5 years ago for $50-100.00. Now you can find the same ones on eBay for $5, and even the original comic books for $10 or so.)

Paolo Bacigalupi is clearly the hot writer of the hour, the hottest since William Gibson circa 1985. That means that investors are already latching onto him. Sorting the current Abebooks listings from the highest price on down, I find that the highest price for a first edition of The Windup Girl is $950.00, which is, I daresay, not bad for a book only published last year, even if it is a signed copy.

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Dracula’s Daughter: From Script to Screen

Dracula’s Daughter: From Script to Screen

The success of Universal’s Dracula (1931) starring Bela Lugosi made not only a cycle of similar horror films inevitable, it virtually demanded the studio turn their attention to a direct sequel.

alt2_draculas_daughter_bigAs had happened with Lon Chaney in the silent era, MGM was quick to top Universal at its own game. They secured the services of Lugosi and director Tod Browning for a remake of Chaney’s silent classic, London After Midnight (1927). Browning had directed that notorious lost classic and having Lugosi fill Chaney’s shoes as the faux vampire seemed an inspired choice.

Browning’s remake, Mark of the Vampire would wing its way to theaters in 1935. Joining Lugosi’s Count Mora was Carroll Borland as his incestuous daughter, Luna. Borland was heavily featured in publicity photos with Lugosi despite not having much of an acting career (the following year she was reduced to a bit part in the first of Buster Crabbe’s Flash Gordon serials for Universal), but her portrayal of Luna was enormously influential on the cinematic female vampires who followed.

Borland contributed more than just the definitive screen depiction of a female vampire, however. Several years before Mark of the Vampire was born, she began a longstanding (and allegedly unconsummated) relationship with Bela Lugosi. She remained obsessed with the actor long after his death and had written a lengthy treatment for a Dracula sequel to star both of them entitled Countess Dracula.

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Feathers on the Waves

Feathers on the Waves

491px-the_lament_for_icarus. . . And the boy thought,
This is wonderful! and left his father,
Soared higher, higher, drawn to the vast heaven,
Nearer the sun, and the wax that held the wings
Melted in that fierce heat, and the bare arms
Beat up and down in air, and lacking oarage
Took hold of nothing. Father! he cried, and Father!
Until the blue sea hushed him, the dark water
Men call Icarian now. And Daedalus,
Father no more, called “Icarus, where are you!
Where are you, Icarus? Tell me where to find you!”
And saw the wings on the waves, and cursed his talents,
Buried the body in a tomb, and the land
Was named for Icarus.

—Ovid, Metamorphoses Book VIII

Where does the love of fantasy, and of storytelling, start? For every person it’s different, of course. For me it begins with feathers on the waves.

Those feathers, the remains of Icarus’s joyful but tragic flight toward the sun when he forgot his father’s warnings, are specific for me. But the broad world of the tales of the Greeks and Romans are a gateway for many people into fantasy. Whether it started with the Minotaur, the war at Troy, the labors of Heracles, Bellerophon on Pegasus against the Chimaera, or Perseus and Medusa, the Greek’s ancient religion and the poets whose writing let it survive have introduced countless readers to the fantastic and the greatness it can achieve.

I’ve often thought about the source of the power of the Greco-Roman legends, their heroes and the gods, and why they still have such enormous affect on us today, when no one worships them any more. They were even losing their grip on religious importance in the time of Ovid, one of the greatest tellers of their exploits. In the twenty-first century, the Iliad is no less an engrossing a story, the plays of Sophocles can still ensnare an audience, and even Hesiod can infuse a sense of wonder in a modern reader as he writes about the beginnings of all things.

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A review of The Woman Who Loved Reindeer, by Meredith Ann Pierce

A review of The Woman Who Loved Reindeer, by Meredith Ann Pierce

reindeer1The Woman Who Loved Reindeer, by Meredith Ann Pierce
Magic Carpet Books (256 pages, $5.95, May 2000)

To begin with, I should tell you that I adore Meredith Ann Pierce’s writing. It has a sense of fairy tale about it, a simple yet otherworldly quality. I will happily read anything she’s written and recommend it to others.

Nevertheless, I have to say that The Woman Who Loved Reindeer might push some peoples buttons for reasons that have nothing to do with the high-quality prose.

Caribou is an isolated girl of thirteen or so, living away from her people because of her true dreams and possible magic. Then her sister-in-law unceremoniously gives her a baby to care for. Although Caribou resents the request — the sister-in-law admits that the baby isn’t her husband’s — an obscure impulse makes her accept the child. And then her life starts to get both richer and stranger.

The child — Caribou names him Reindeer — is not entirely human. When he’s still a baby, a golden reindeer nearly takes him away. As he grows, Caribou dreams of him as a reindeer calf and notices that he casts a reindeer’s reflection in the water. Also, he doesn’t entirely comprehend human emotion. He’s a trangl, a shapeshifter who turns into a reindeer, a being that Caribou’s culture fears as essentially untrustworthy — a view that’s not entirely unfounded, since Reindeer seems to have a limited capacity for empathy.

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Saints and Shrieks: Jeff VanderMeer’s Ambergris Fiction

Saints and Shrieks: Jeff VanderMeer’s Ambergris Fiction

City of Saints and MadmenI don’t know what makes a novel great. Maybe every great book is great in its own way. I suspect, though, that a novel’s greatness resides most often either in its structure (not just its plot, but its balancing of themes and elements, its division into units like chapters, and its decision of what to describe and when) or its prose (its ability to make every word count, not only in depicting character and setting, not only in moving forward story, but in advancing the theme of the book, what it’s about, the idea that prompted the telling of the tale in the first place).

I suspect also that truly great novels fuse the two things, so that stylistic choices are an outgrowth of structure, while structural elements are visible in the voices the story uses. And all these things are always surprising the reader, even while making perfect sense.

Which brings me to Jeff VanderMeer, and his three novels of the fictional city of Ambergris: City of Saints and Madmen, Shriek: An Afterword, and Finch.

This is not a typical trilogy. The three books are very different from each other in both style and structure, although they do have some themes and characters in common. Chiefly, they have Ambergris in common.

Ambergris is a strange place, a baroque metropolis defined by wars between sprawling merchant houses, the orgiastic annual celebration of the Festival of the Freshwater Squid, and a mostly-subterranean nonhuman race called Grey Caps. The city changes over the course of the books — its technology shifts, its social structure is altered — but then the way we see the city changes as well.

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Best American Fantasy comes to an End

Best American Fantasy comes to an End

best-american-fantasy2aOver at Ecstatic Days, Jeff VanderMeer has announced that the annual anthology series he founded with Ann VanderMeer, Sean Wallace, and Matthew Cheney, Best American Fantasy, has wrapped up after three volumes.

The first, published in 2007 by Sean Wallace at Prime Books and edited by Jeff and Ann VanderMeer, was an eclectic and delightful mixture of fantasy assembled from Zoetrope: All-Story, Analog, McSweeney’s, Zahir, Strange Horizons, The New Yorker and others sources, featuring nearly two dozen writers I’d never heard of. The second offered a slightly more familiar cast, including Jeffrey Ford, Kelly Link, and Peter S. Beagle, but still cast a wide net to include fiction from Cincinnati Review, Tin House, Barrelhouse, Harpers, Mississippi Review, and many others.

With the third volume the series jumped to Victoria Blake’s Underland Press, and changed editor to Kevin Brockmeier (our review, by David Soyka, is here). It contained work from Stephen King, Lisa Goldstein, Peter S. Beagle, Jeffrey Ford, and others. Jeff reflects on the decision to end the series thusly:

The amicable move from Prime to Underland following the publication of BAF2 was meant to rejuvenate the series and to finally achieve stability for it. Unfortunately, this didn’t occur, for a variety of reasons. BAF did not having a wide margin for error. A cross-genre fantasy year’s best that focused not just on genre magazines but also on literary magazines, that required sympathy and generosity from both the mainstream and genre, as well as the right placement in the chains, was always going to be a difficult sell.

New series editor Larry Nolen has posted the short list of stories under consideration for the unpublished fourth volume here — including fiction from Richard Parks, Sean McMullen, and Catherynne M. Valente, and four stories from Clockwork Phoenix 2.

Whither the Bookstore?

Whither the Bookstore?

bn_logo2Following up on John’s post (and subsequent discussion) concerning the predicament of Barnes and Noble, which seems to be getting a taste of its own medicine as e-books and online book buying may relegate the superstore concept as nostalgic as the local independent book dealer, is this article from The New York Times. What’s interesting is the prediction that despite the growing acceptance of reading on handheld screens and website ordering, surviving independent stores may still flourish because of their personalized service to niche customers.

thin21Makes sense. Every time I go into an independent bookstore, I feel compelled to buy something even if I already have to many books I haven’t read yet, much less that I could get the book cheaper online (or even at Barnes and Noble). One reason I like to support these guys is that there’s something very attractive about “non-chain store” shopping, where owners have put their own individual stamp on the presentation and perusal of their wares.

True, they may not be as deep stocked as B&N (or at least used to be).  But, funny how the books they do carry in the fiction section are almost exactly the kinds of things I’m interested in.

To give B&N its due, though, I always thought it conveyed more a sense of a traditional bookshop than its much more troubled competitor, Borders. (Gone into one lately?  It’s like Waldenbooks on steroids, meaning appealing to the lowest common denominator is even more depressing when it’s bloated with stationary and puzzles).  And the people who worked there do seem to be knowledgeable and enthusiastic about books, unlike some of the clueless clerks you might find in a mall record store (do they still have those?).

As for what will happen to the physical book once we’re all reading on our Kindles or iPads or inner eyelid digital display inlays, check out this article by Rob Walker, also from theTimes.  I particularly like the idea of using an old discarded book to house your Kindle. And that someone could actually sell it for $25.

See, all those books bending your bookshelves do have some future value.  Get ’em while you can.

Robert E. Howard: Anatomy of a Creative Crisis

Robert E. Howard: Anatomy of a Creative Crisis

kull-a“Beyond the Sunrise” is the unofficial title afforded an unfinished Kull story that did not see print until over forty years after the author’s death. Its significance is due largely to the fact that it was the first of four widely differing attempts to continue the Kull series following the publication of both “The Shadow Kingdom” and “The Mirrors of Tuzun Thune” in Weird Tales in 1929.

Robert E. Howard starts the story off with a bored Kull sitting on his throne listening to a rather dull tale of the Valusian noblewoman, Lala-ah who has run off with her foreign lover leaving the nobleman she was promised to waiting at the altar. The barbarian king’s pride is piqued once he learns the foreigner insulted him behind his back. He then readily agrees to lead a posse to retrieve the noblewoman and restore his and his nation’s honor.

I was about as enthusiastic as Kull when I first started the story and thought the Atlantean was acting like a childish oaf for getting his nose out of joint just because a foreigner called him a sissy when he wasn’t around to defend himself.

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