When you’re seven years old, you do not see what’s coming next between these two
I’m about to get into the November 1979 science fiction magazines. Dive Deep. But, there is a fundamental difference between November 1969, and November 1979 — I was born in 1969, but by 1979 I was 10 years old. I remember 1979. Or pieces of it anyway.
Before I got into the magazines I thought I’d see what I could recall from my younger years. In short — Star Wars is what I remember.
It loomed large over almost everything in my life at the time. I think I went to see it like… 7 times? And back then, back in 1977, that took work, dude.
I remember disco, I remember “Disco Duck.” I had, by 1979, watched the entire run of Star Trek (and I have to say, when you are 8-10 years old, each Star Trek episode was almost as good as Star Wars).
Brin won the Hugo Award and Nebula Award in 1984 for his novel Startide Rising. He subsequently won Hugo Awards in 1985 for his short story “The Crystal Spheres” and in 1988 for his novel The Uplift War. His novel The Postman won the John W. Campbell Memorial Award in 1986 and was turned into a film starring Kevin Costner. He won a coveted Balrog Award for The Practice Effect and the Hal Clement Award for Sky Horizon: Colony High, Book One. Infinity’s Shore received an Italia Award. He has won the Seiun Award for translations of The Uplift War and Heaven’s Reach. In 1998, LASFS recognized him with a Forry Award. Brin was an Author Guest of Honor at Nippon 2007, the 65th Worldcon in Yokohama, Japan.
“Just a Hint” was Brin’s first published short story, appearing shortly after his debut novel, Sundiver. “Just a Hint” initially appeared in the April 27, 1981 issue of Analog Science Fiction/Science Fact, edited by Stanley Schmidt. The next year it was translated into German to appear in Analog 5, a collection of stories previously published in the American edition of Analog. Brin included it in his first collection Rivers of Time, originally published by Dark Harvest in 1986. It was translated into German a second time in 1989 to appear in the anthology An der Grenze, edited by Wolfgang Jeschke. In 2010 James L. Sutter included the story in Before They Were Giants: First Works from Science Fiction Greats.
Brin tells the story of two races, the human race and a race he calls sophonts. There is little action in the story, which is mostly talking between characters on the separate planets. On Earth, Liz Browning is a graduate assistant to Sam Federman. Sam is searching for intelligent life in the universe, but his real specialty is finding and maintain funding for his project while all around him money is drying up. On a distant planet, Fetham is decrying his loss of funding to bureaucrat Gathu. As with Federman, Fetham is also trying to reach alien races.
Each society has its own problems. Federman lives in a world in which the weather report is accompanied by statistics of the chance that the world will end in a nuclear conflagration before the year is out. Knowing that pollution was solved once the obvious steps were figured out, Federman hopes that an alien race might be able to share knowledge of what those steps would be for war.
Živković is a Serbian author whose works have been translated into English. His story “The Library” won the World Fantasy Award for Best Novella in 2003 and his 2008 novella Twelve Collections & the Teashop was a nominee for the Shirley Jackson Award. In addition to his own writing, Živković has translated science fiction from English into Serbian, published the Polaris imprint, and has won the Miloš Crnjanski Award, the Isidora Sekulić Award, the Stefan Mitrov Ljubiša Award, the Art-Anima Award, the Stanislaw Lem Award, and the Golden Dragon Award.
Živković’s story “The Whisper” first appeared in English in issue #170 of Interzone, edited by David Pringle and published in August 2001, followed by the subsequent stories in the same sequence over the following six months. The story as included in Živković’s 2006 collection Impossible Stories as well as his fix-up novel in the same year, Seven Touches of Music, which had been published in Serbian in 2001 as Sedam dodira muzike.
“The Whisper” is a short story that opens Zoran Živković’s fix-up novel Seven Touches of Music. It is set in Dr. Martin’s classroom for children on the autistic spectrum, where Martin tries to find ways to engage his students. Martin feels like he is fighting a losing battle since the students are all non-communicative to various extents. One of the ways Martin tries to teach the students is by having them draw, but their responses range from drawings which they destroy before he can see them to intricate patterns to random scribbles.
When Martin introduces music to the drawing sessions, it seems to influence one of the boys in the class. Martin begins to experiment with types of music to see if other music will repeat the influence or cause other outcomes. His experiments are inconclusive, but lead him to think he may be on the right track if he can just figure out how and why the music is having the impact he sees.
His fiction has been collected into two volumes and he has edited four anthologies, one of which, Extended Play: The Elastic Book of Music won the 2007 British Fantasy Award. He co-edited Deep Ten with Sara Jayne Townsend and co-edited Mind Seed with David Gullen. In 2017, five of his editorials for the magazine Black Static were also nominated for the British Fantasy Award. He has collaborated with D.F. Lewis, Miriam Robertson, and Martin Owton on various short stories.
“Half-Life” was first published in the August 1996 issue of The Magazine of Fantasy and Science Fiction, edited by Kristine Kathryn Rusch. Couzens included the story in his first collection of short stories, Second Contact and Other Stories, in 2003.
Gary Couzens made the decision to write “Half-Life” in the second person, which is not a common choice, but in this case manages to given an immediacy to the story that would otherwise have been lacking. His unnamed protagonist (“you”) has died and his spirit is hanging around the house, spying on his wife as she moves through the days following his death, and witnessing his daughter and son come home for the funeral.
While the second person POV pulls the reader into the story, the fact of death separates the reader from the action. The death causes a dissociative sense regarding what is happening as “you” learn how you were viewed by your daughter, who couldn’t reveal that she was a lesbian to you, although she told your wife five years earlier and has brought her lover for the funeral. You also realize that you won’t see the child your son and his wife are pregnant with.
You and the reader are both left up in the air as to any purpose you have for sticking around in your old house, but it is clear that you are locked to the location, with your strongest presence in the hallway where you died. When your wife leaves the house, you realize that you aren’t tied to her and will continue to exist in your half-state for an indeterminate period of time, but will eventually disappear.
Since I realize I jumped the gun and moved Walter Jon Williams’s birthday up a couple of weeks with my Birthday Review published earlier today, here is someone who was actually born on October 2.
Cover by Kevin Davidson
Edward Wellen was born on October 2, 1919 and died on January 15, 2011.
Most of Wellen’s publications were short stories and he was more active in the mystery field than in science fiction, although he began publishing in the genre in 1952 with the non-fact article “Origins of Galactic Slang” in Galaxy. In 1971 he published his only science fiction novel.
“Barbarossa” was initially published in the June 1973 issue of Vertex: The Magazine of Science Fiction, edited by Donald J. Pfell. It was reprinted in the anthology Fantastic World War II in 1990, edited by Frank McSherry, Jr.
Wellen briefly explores the fate of a Nazi U-boat commander who refused to surrender to the Allies when Admiral Doenitz gave the order following Hitler’s death at the end of World War II. Using every trick he could think of, Helmut Niemans managed to escape the Allies, jettisoning enough flotsam from the ship that it was believed to be lost. Instead, he spent the next twenty-odd years as a pirate, picking up crew as he could to replace the Germans who died, tried to escape, or mutiny.
Less a story than a vignette showing how Niemens manages to continue adding to his crew, with a flashback to explain his history, Wellen fails to show how the ship manages to remain functional, although ever-decreasingly, through the years. He also doesn’t discuss how Niemens is able to avoid any sort of detection. Instead, the Commander is shown as a sad Captain Nemo, awaiting the revival of the Nazi ideology while he crews his boat with a rag-tag collection of slaves who don’t believe in his vision. Wellen also ignores the fourteen crewmen who were aboard the boat during World War II, and doesn’t clarify where their loyalties lie — whether to Niemens, the Reich, or simply remaining alive in their tight and smelly quarters.
It’s been more than a piece, heck, even more than a while, since I’ve done one of these. I’m glad to be back because there’s been some really good short fiction published in the last couple of months. I’m not going to get to everything, but I am going to get to the best — Heroic Fantasy Quarterly 37 and Tales From the Magician’s Skull No. 2.
HFQ 37 has four stories and three poems. The continued use of evocative black and white art makes it my favorite looking ezine out there, but it’s the high quality of the stories that matters.
P. Djeli Clark kicks off the issue with the more-than-a-little grim “The Paladin of Golota.” Teffe is a young boy in the decaying town of Am Amara. He survives by robbing the corpses of the stream of warriors who have come to his town to fight the demon worms that infest the surrounding lands. Contrary to his fellow street kids, Teffe draws a line at cutting the throats of the wounded, instead waiting until they die on their own. This slight sense of honor leads him into a conversation with the fighter, Zahrea. She knew coming to Am Amara meant her death was likely, but came anyway.
“You’d die just to become a hero?” he asked.
She sat back and closed her eyes before saying: “Heroes give the world hope. They fill our tales and stories. There is a reason we do not make gods our heroes, but instead mortals who became more.”
Clark is a writer whose work I’ve admired very much in the past and this is my favorite story of the month. The story is grim, but unlike so many such stories, Clark not only provides a moment of grace in the darkness, but its entirety is built around that moment.
Donald A. Wollheim was born on October 1, 1914 and died on November 2, 1990.
Wollheim entered science fiction fandom at its birth and was responsible for a meeting in Philadelphia between New York and Philadelphia science fiction fans which is considered by some to be the first science fiction convention. He was a member of the Science Fiction League, founded the Fantasy Amateur Press Association (FAPA), and the Futurians. He was one of the Futurians not allowed into the first Worldcon as part of the “Exclusion Act.” In the 1940s, he began working as an editor as well as a writer, editing for Avon Books and later Ace before starting up his own line, DAW Books. From 1965 through his death, Wollheim edited an annual World’s Best SF anthology series.
In 1975, Aussiecon One, the 33rd Worldcon, presented Wollheim with a Special Award for being the “Fan Who Has Done Everything.” Wollheim was inducted into the First Fandom Hall of Fame in 1975 Wollheim won a World Fantasy Special Professional Award in 1981 for DAW Books and a Special Convention Award in 1986. He also won the Milford Lifetime Achievement Award in 1980, the I-Con Award and Forry Award in 1987. He and his wife, Elsie, earned a British Fantasy Special Award in 1984. In 2002, he was inducted posthumously into the Science Fiction Hall of Fame and in 2010, SFWA awarded him the Solstice Award, which was accepted by his daughter, Betsy. Wollheim was the Guest of Honor at Nolacon II, the 46th Worldcon in 1988.
Wollheim used a variety of pseudonyms, including Martin Borrow, Graham Conway, Millard Verne Gordon, David Grinnell, Martin Pearson, Allan Warland, W. Malcolm White, and Lawrence Woods. He collaborated, as author and editor, with George Ernsberger, Forrest J Ackerman, Terry Carr, Arthur W. Saha, C.M. Kornbluth, Robert A. W. Lowndes, John Michel, and Lin Carter.
S.N. (Shariann) Lewitt was born on September 29, 1954. She has also published as Rick North and Gordon Kendall, the latter in collaboration with Susan Shwartz.
Lewis has published under her full name as well as her initials. Her novels include original works such as Angels at Apogee, Rebel Sutra, and Memento Mori, as well as the Star Trek novel Cybersong. She collaborated with Shwartz on the novel White Wing and has written two books in The Young Astronauts series as Rick North.
“Festival” appeared in the Summer 1994 issue of Pirate Writings, edited by Edward J. McFadden. It was reprinted in The Best of Pirate Writings: Tales of Fantasy, Mystery & Science Fiction, also edited by McFadden.
Lewitt has set “Festival” on an alien world settled by humans. The early settlers found the world to be an inhospitable place with a jungle that seemed practically sentient and intent on destroying the colony. Eventually, technological means were invented to keep the jungle from encroaching on the colony and at the same time a raucous annual festival emerged, which invariably resulted in the deaths of some of the revelers. Secret Societies sprung up to find those who died in the revels and take their bodies outside as a tribute to the jungle.
Sandro is preparing not only for the festival, donning a costume like all the other revelers, but also for his induction into the Red Men’s Society. The story talks about his preparations and then goes into a lengthy flashback to give the reader the history, intentionally vague, of the planet and the festival, before connecting Sandro to his sponsor for membership in the Red Men’s Society, his co-worker Chema. The two men go out on patrol, looking for the bodies of the dead to drag out into the jungle while wearing full environmental suits so they won’t have to worry about their own exposure.
The short length of the story combined with its flashback nature gives it a disjointed feel. Lewitt is not able to give sufficient coverage to either the origins of the colony’s culture nor to Sandro and his desire to become part of the Red Men’s Society or his reaction to the secrets he is exposed to. While his reaction to those secrets is one which seems completely human and normal, it doesn’t seem to take the colony’s values into consideration.
Having just come out of the 1969 Retro-Reviews, AND Black Gate Book Club’s 1981 Downbelow Station, I wanted to dip into the modern SF/F scene a bit before starting the 1979 Retro-Reviews. I delved into Fantasy & Science Fiction, July/August 2018. I’ll be talking about the fiction and poetry in this review, spoiler-free, but skipping book review columns and such.
This is a somewhat special issue, with stories inspired by (or matching) the excellent Bob Eggleton cover art “Big Mars.”
“The Phobos Experience” by Mary Robinette Kowal
Darlene Ritika works on the Bradbury Space Center, orbiting Mars, in this alternate history tale. She is hiding a severe case of vertigo from her superiors and co-workers and gets called out by the Man to go to Phobos and find an entrance to a series of secret caves. They find a cave, but discover they are not the first people to be there. A slow-motion chase/fight ensues in the low gravity. With the heart of the story being such a slow scene, the story in its entirety seemed really rushed to me.
Willard E. Hawkins was born on September 27, 1887 and died on April 17, 1970.
Hawkins only published eleven short stories of genre interest over a span of nearly thirty years, although he published his first story as early as 1912. In addition to writing various genres, he established World Press, for which he was the publisher and editor of mostly non-fiction books about the West. He also worked as a newspaper editor for various Colorado papers, including Denver Times and the Rocky Mountain News. His first genre story, “The Dead Man’s Tale,” appeared in the debut issue of Weird Tales.
“The Dwindling Sphere” was originally published in the March 1940 issue of Astounding Science-Fiction, edited by John W. Campbell, Jr. Laurence Janiver reprinted it in his 1966 anthology Masters’ Choice (a.k.a. 18 Greatest Science Fiction Stories). The story was picked up by Isaac Asimov and Martin H. Greenberg for their anthology The Great Science Fiction Stories Volume 2: 1940 (a.k.a. Isaac Asimov Presents the Golden Years of Science Fiction), which caused it to be translated into German in 1980. In 2017, Hank Davis used the story in his anthology If This Goes Wrong…
Hawkins explores several generations of a single family in “The Dwindling Sphere.” The first section, set in 1945, discusses how Frank Baxter accidentally created the Plastocene process while attempting to find a way to create atomic energy. He was partially successful in creating a reaction, but the energy he was seeking completely dissipated, leaving behind a product which would revolutionize manufacturing. Subsequent sections focus on his descendants who discover Baxter’s journals and add on to them as they deal with the long-term repercussions of his discovery.
Hawkins deals with a society in which the working class has been turned into a luxury class since only a small number of people are needed to supply the world with plastocene, and therefore everything it needs, although food production hasn’t (yet) been switched to plastocene. In this period, the new luxury class is discovering that work provides them with a raison d’etre. Several hundred years later, society has evolved more and the early Baxters have been all but forgotten until a distant relation finds their diary, which corrects many historical misconceptions. By that time, plastocene production is beginning to threaten the livability of Earth, leading to the final sections of the story in which the Baxters’ descendants are forced off Earth by the long-term success of plastocene.
