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Birthday Reviews: Wallace West’s “No War Tomorrow”

Birthday Reviews: Wallace West’s “No War Tomorrow”

Cover by Milton Luros
Cover by Milton Luros

Wallace West was born on May 22, 1900 and died on March 8, 1980.

West began publishing speculative fiction in 1927 with the story “Loup-Garou,” which appeared in Weird Tales. Working mostly at short fiction lengths, he didn’t limit himself to science fiction and fantasy and his story “Muddy Waters” was turned into the 1933 film Headline Shooter.

“No War Tomorrow” was printed in the first issue of Science Fiction Quarterly, published in May 1951 with Robert A.W. Lowndes as the editor. In January of the following year it appeared in the magazine’s British edition. West included the story in his 1962 collection Outposts in Space.

The world of West’s “No War Tomorrow” is something of a mess. The major power is the United Stars, which seems to govern Earth, the Moon, Mars, and part of Venus, all of which appear to be inhabitable and suitable for human life, although there may be domes or terraforming that has occurred on Mars and the Moon. West’s focus, however, is on Venus, which is divided by the United Stars and the local Big Shots, who rule an anarchic area where the laws requires people to fend for themselves, although at the same time there is a civilization and police force, without explanation for how either survive.

Although West’s hero is Captain Frank Sage of the Space Patrol (part of the United Stars), his protagonist is really Sage’s girlfriend, Sadie Thompson, who dresses in barely enough clothing to highlight her figure, and who varies between being hyper competent and acting like a flirtatious girl who barely knows what is going on. While this might make sense if West used these variations to further the plot, they mostly seem to be used at random when he isn’t sure what to do with the character. Despite Thompson’s general ability, as well as the abilities of another female character, Greta, the depiction comes across as misogynistic.

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Birthday Reviews: Manly Wade Wellman’s “The Terrible Parchment”

Birthday Reviews: Manly Wade Wellman’s “The Terrible Parchment”

Cover by Margaret Brundage
Cover by Margaret Brundage

Manly Wade Wellman was born on May 21, 1903 and died on April 5, 1986.

In 1956, his story “Dead and Gone” received an Edgar Award for Best Fact Crime Story. Wellman’s collection Worse Things Waiting received a World Fantasy Award for Best Collection in 1975, and in 1976 he received a Phoenix Award at DeepSouthCon. He received a World Fantasy Award Life Achievement Award in 1980 and in 1983 was a Guest of Honor at the World Fantasy Convention in Chicago. At ConStellation, the 1983 Worldcon, Wellman was inducted into the First Fandom Hall of Fame. He received a Special Award from the British Fantasy Society in 1985.

“The Terrible Parchment” first appeared in the August 1937 issue of Weird Tales, edited by Farnsworth Wright. The story was dedicated to the memory of H.P. Lovecraft, who had died five months earlier. In 1972, Meade and Penny Frierson reprinted it in the first issue of their fanzine, HPL. Wellman then included the story in his 1973 collection Worse Things Waiting. In 1996, Robert M. Price selected it for the Chaosium Cthulhu Cycle anthology The Necronomicon: Selected Stories and Essays Concerning the Blasphemous Tome of the Mad Arab. It was also included in the Wildside Press e-book The Second Cthulhu Mythos Megapack in 2016.

While preternatural horror is often the goal of fiction set in Lovecraft’s Cthulhu mythos, humor also has a tendency to sneak in. Wellman’s meta-fictional “The Terrible Parchment” is definitely an early example of humorous Cthuliana, positing a copy of Weird Tales delivered to its subscriber and containing a page from The Necronomicon.

Although the idea of the characters being terrorized by the volume Lovecraft and so many of his followers have described works on a conceptual level, Wellmen’s depiction of the attack undermines the horror and turns the story into a more humorous work. As readers of Weird Tales, the characters are aware of The Necronomicon and its role in Lovecraft’s mythos, and Gwen even suggests that the book has achieved reality based on its legendary nature and fame, already occurring in 1937. The page’s method of attack, moving along the floor like an inchworm and seeping up the narrator’s leg, however, leaves much to be desired as a preternatural horror, as does his means of defense, stabbing at it with his wife’s umbrella.

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Birthday Reviews: Adam-Troy Castro’s “MS Found Paper-Clipped to a Box of Jujubes”

Birthday Reviews: Adam-Troy Castro’s “MS Found Paper-Clipped to a Box of Jujubes”

Cover by Amy Sterling
Cover by Amy Sterling

Adam-Troy Castro was born on May 20, 1960.

Castro has been nominated for the Nebula Award 8 times in the three short fiction categories, beginning with a Best Novella nomination for “The Funeral March of the Marionettes” and most recently for the novella “With Unclean Hands.” “The Funeral March of the Marionettes” was also nominated for the Hugo Award, and Castro later shared a Hugo nomination with Jerry Oltion for “The Astronaut from Wyoming.” Castro and Oltion would go on to win the Seiun Award for “The Astronaut from Wyoming” in 2007. He won the Philip K. Dick Award for the novel Emissaries from the Dead in 2009. Four of his stories have topped the Analog Readers Poll, including “The Astronaut from Wyoming,” “Sunday Night Yams at Minnie and Earl’s,” “With Unclean Hands,” and “The Coward’s Option.”

“MS. Found Paper-Clipped to a Box of Jujubes” was an original story included in Castro’s 2000 collection An Alien Darkness. It is the only time it has been published and was one of three stories first published in that collection.

It is only natural to look at a Ferris wheel and think about what would happen if it broke loose from its moorings. Of course, the reality of the situation would be deadly and horrific, but Castro paints a more surrealistic scene in “MS Found Paper-Clipped to a Box of Jujubes.”

Joe and Mary Sue are riding on a Ferris wheel, ignoring pretty much everything except for each other, when the wheel jumps from its holder and begins to roll down the midway and eventually out of the fairgrounds, gaining speed as its goes and causing Mary Sue to fall out of the wheel (unharmed). Joe just goes along for the ride as police try to stop the runaway wheel, treating it more like a speeding driver than anything else. Eventually, the wheel goes on to achieve cross-dimensional status and the wheel’s riders begin to work to regain control of the ride.

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The Complete Carpenter: Memoirs of an Invisible Man (1992)

The Complete Carpenter: Memoirs of an Invisible Man (1992)

memoirs-invisible-man-poster

The turnaround time on this installment of my John Carpenter retrospective was fast. That’s because there isn’t much to say about Memoirs of an Invisible Man. It’s the only film Carpenter directed strictly as a work-for-hire job. He came onto the film to get it shot after most of the creative pre-production decisions were already made. He didn’t take his usual above the title possessive credit, the only time that happened since Dark Star.

This article series by its nature takes an auteur approach to film analysis, and there’s not much to analyze with a movie where the director himself acknowledges he had little authorial voice in the final product. But there’s not much to analyze no matter the approach because this is a deeply mediocre movie.

Basically, if you want to skip this article and wait for In the Mouth of Madness, neither I nor John Carpenter will mind.

The Story

Chevy Chase plays Nick Halloway, a rich San Francisco investment banker who gets turned invisible by a scientific accident. Sinister government intelligence agent and hatchet man David Jenkins (Sam Neill) pursues Nick as a potential asset. Nick meets a pretty woman, Alice Monroe (Daryl Hannah), who helps him out. Eventually, Nick outwits Jenkins and goes to live in Switzerland with Alice, although he stays invisible. Roll credits.

The real story is what happened in pre-production. Memoirs of an Invisible Man was a Chevy Chase vanity project. He purchased the rights to H. F. Saint’s novel as a path to more serious leading man roles. This change in approach to what was supposed to be a comedy caused original director Ivan Reitman to jump ship, and screenwriter William Goldman (The Princess Bride and other movies far better than this one) followed soon after. Many directors were considered, and for a while Lethal Weapon’s Richard Donner was the serious contender. But then John Carpenter — not somebody you’d expect to helm a Chevy Chase movie of any type — ended up with the job. Possibly it was Carpenter’s track record working with visual effects and having directed another couple-on-the-run SF movie, Starman, that got Chase’s attention. Carpenter was engaged in a legal dispute with Alive Films at the time and decided to do the work-for-hire gig. Let’s see how that went.

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Birthday Reviews: Wendy Rathbone’s “The Beautiful People”

Birthday Reviews: Wendy Rathbone’s “The Beautiful People”

Cover by J.K. Potter
Cover by J.K. Potter

Wendy Rathbone was born on May 19, 1960.

Although Rathbone has published several short stories and some novels, she may be best known for her poetry, which has been collected in Moon Canoes: The Selected Poetry of Wendy Rathbone, Autumn Phantom, Turn Left at November, Dead Starships, and Unearthly: The Collected Poetry of Wendy Rathbone. Rathbone’s poetry has been on the Rhysling ballot three times.

The only publication of “The Beautiful People” was in the 1998 anthology Bending the Landscape: Science Fiction, edited by Nicola Griffith and Stephen Pagel.

Rathbone’s story looks at the relationship between Noah, a plain bartender, and Tam, the talented and attractive singer in a band. Both characters are outliers in a world in which people can undergo treatment to improve their looks and gain the appearance of perpetual youth. Noah refrains because he blames the treatments for his sister’s suicide and Tam avoids the treatment because he feels he doesn’t need them to look good.

As their relationship progresses, including marriage, Noah remains steadfast in his belief that the treatment is wrong and takes something out of people, while Tam seems to be increasingly concerned about his own imperfections, which Noah describes as extremely minor. However, Tam is a performer and feels the need to keep up with his competition and his bandmates, all of whom have undergone the treatment and are “naturally” impeccable, while he needs to groom himself to achieve even a semblance of a perfection he doesn’t feel.

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In 500 Words or Less: Waypoint Kangaroo by Curtis C. Chen

In 500 Words or Less: Waypoint Kangaroo by Curtis C. Chen

Waypoint Kangaroo-small Kangaroo Too-small

Waypoint Kangaroo
By Curtis C. Chen
St. Martin’s Press (320 pages, $25.99 hardcover, $13.99 eBook, June 2016)

I met Curtis C. Chen at my first time out to the Nebulas (about this time last year), and I remember chatting with him in the con suite about Waypoint Kangaroo and its sequel, Kangaroo Too. The premise alone was enough for me to add it to my reading list right away: a covert agent in the near-future forced to go on vacation to Mars, but who can’t seem to avoid trouble. Oh, and he can open a window to a pocket dimension at will, which is why he’s so valuable – because otherwise, he’s a bit of a screw-up. But you know how reading lists get; they’re huge, and I never quite got to reading Waypoint, and felt like a jerk when I hung out with Curtis again at Can*Con and still hadn’t picked it up.

Now that I finally have, I feel even more like a jerk. Why?

Because the next time I write a science fiction adventure novel, I want to do it like Curtis C. Chen.

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Birthday Reviews: Jonathan Maberry’s “Red Dreams”

Birthday Reviews: Jonathan Maberry’s “Red Dreams”

Dead Man's Hand
Dead Man’s Hand

Jonathan Maberry was born on May 18, 1958.

Maberry won the 2007 Bram Stoker Award for Best First Novel for Ghost Road Blues, which was also nominated for Best Novel. The next year he won the Bram Stoker Award for Best Nonfiction with David F. Kramer for their book The Cryptopedia: A Dictionary of the Weird, Strange & Downright Bizarre. In 2012, he won the Bram Stoker for Best Young Adult Novel for Dust & Decay, and again the following year for Flesh & Bone. In 2015, he shared a Bram Stoker Award for Best Graphic Novel with Tyler Crook for Bad Blood.

“Red Dreams” original appeared in Dead Man’s Hand: An Anthology of the Weird West, edited by John Joseph Adams in 2014. In 2017, Maberry included it in his collection Wind Through the Fence and Other Stories.

Set in the American West of 1876, the story follows Jonah McCall, who has been leading a band of mercenaries against a Cheyenne tribe led by Walking Bear, in hopes of earning the bounty placed on the head of each member of the tribe. When the “Red Dreams” opens, McCall has wiped out the Cheyenne and won the bounty, but at the cost of all of his own men. He and his horse, Bob, are the only survivors on the empty Wyoming desert where they watch a meteorite fall through the atmosphere.

Alone on the desert, McCall begins to reflect on his history with the Cheyenne, dating back to an enormous raid that massacred women, children, and the elderly, to the recent destruction of Walking Bear’s war party. Although McCall only sees himself doing his job and what is right for the local white settlers, his thoughts show him as an antihero. Maberry doesn’t indicate that Walking Bear was any less damaged than McCall, but Walking Bear’s thoughts and deeds aren’t being presented in the story, at least not by a reliable narrator. What is clear is that McCall has no personal animosity towards Walking Bear, but rather does hold him in a grudging respect.

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Birthday Reviews: F. Paul Wilson’s “When He Was Fab”

Birthday Reviews: F. Paul Wilson’s “When He Was Fab”

Cover by Bob Eggleton
Cover by Bob Eggleton

F. Paul Wilson was born on May 17, 1946.

Wilson won the Bram Stoker Award for his short story “Aftershocks” in 1999. He has been nominated for the award seven more times, and in 2009 he received a Lifetime Achievement Awards from the Horror Writer’s Association. Wilson was named a Grand Master by World Horror Con in 2005. He received his first Prometheus Award in 1979 for the novel Wheels Within Wheels and in 2004 he won the award for the novel Sims. His Healer and An Enemy of the State won back-to-back Prometheus Hall of Fame Awards in 1990 and 1991. He was one of the Guests of Honor at the 2009 World Horror Convention in Winnipeg, Canada.

Although originally written with Thomas F. Monteleone’s Borderlands 2 in mind, “When We Was Fab” was purchased by Darrell Schweitzer for a special F. Paul Wilson issue of Weird Tales, which appeared in Winter of 1992/1993. Wilson reprinted the story in his 2009 collection Aftershocks and Others: 19 Oddities. It has not otherwise been reprinted.

“When He Was Fab” starts out like many stories about an alien symbiote that takes over a hapless human, in this case, Doug, who works as a super for an apartment in Brooklyn. The symbiote attaches itself to him one day when he’s cleaning out a clogged drain in the building’s basement. The story is also about Marc, a New Yorker who has suddenly found himself part of the cream of New York night life, able to get into all the bars and the person the stars all want to be seen with. Despite the shallowness off Marc’s live, he has found something that makes him happy and he tries to share what he has found with other people.

Wilson eventually brings Marc and Doug’s stories together. In doing so, he takes the symbiote, which would normally be the villain or monster of this type of story and actually makes the creature, which appears as a thick goo, to be a more sympathetic character than either of the humans whose activities Wilson has been describing. When the symbiote appears to take ill, both Doug and the reader care about what happens to the creature.

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Birthday Reviews: Bruce Coville’s “The Passing of the Pack”

Birthday Reviews: Bruce Coville’s “The Passing of the Pack”

Cover by Gary Lippincott
Cover by Gary Lippincott

Bruce Coville was born on May 16, 1950.

Best known as a YA author, Coville won the Golden Duck Award in 1992 for his novel My Teacher Glows in the Dark, won it again in 2000 for I Was a 6th Grade Alien, and in 2006 won a Golden Duck for an audio production of Robert Heinlein’s novel Rolling Stones. His novels have twice been nominated for Mythopoeic Awards and in 2000, he received a Skylark Award from NESFA. He received the Empire State Award for Excellence in Literature for Young People from the New York Library Association in 2012.

“The Passing of the Pack” was originally written for the young adult anthology Werewolves: A Collection of Original Stories, edited by Jane Yolen and Martin H. Greenberg in 1988. Coville included the story in his collection Oddly Enough in 1994 and when that volume and its successor were collected in the omnibus Odds Are Good: An Oddly Enough and Odder Than Ever Omnibus, the story saw print again. In 2011, Coville issued the story as an e-book.

Throughout most of history, wolves have been seen as an enemy. They threaten the livestock on small villages and, when particularly hungry can also threaten humans. Bruce Coville channels that fear of wolves in the opening of “The Passing of the Pack,” which describes a wolf attack on a sixteen year old boy and then flashes back to the first time wolves attacked his village when he was five years old.

The story looks at the character’s life as a fatherless boy in a small village, specifically how he was treated almost as an outsider by the rest of the villagers. When he came to the defense of a girl he had befriended, the accusation of witchcraft against her was applied to him as well. By this time, Coville has shown an affinity for him by the wolves and his rescue by the animals is not really a surprise.

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The Roots of Grimdark:The Black Company by Glen Cook

The Roots of Grimdark:The Black Company by Glen Cook

No one will sing songs in our memory. We are the last of the Free Companies of Khatovar. Our traditions and memories live only in these Annals. We are our only mourners.

It is the Company against the world. Thus it has been and ever will be.

from The Black Company

oie_1471611MVbvsrErYou never know, when you pick up a book, the impact it will have on your life. In 1984, my friend Carl tossed me a copy of The Black Company (1984), a book I’d end up rereading half a dozen times over the next thirty-five years. It turned out to be the first book in what eventually grew into a ten book series (eleven actually, as the first new Black Company book in eighteen years, Port of Shadows, is to be published in September) and one of my favorite works of epic fantasy. Several of Cook’s other books are better written, better plotted, and more cohesive than The Black Company, but none of them has left as indelible a mark on me as this one.

The setup of the novel is this: a mercenary company unknowingly signs on to the service of Sauron’s wife the Lady, a great and powerful sorceress. Her empire has risen up in rebellion against her and her minions, the Nazgul Taken. Assassinations, intrigue between world-shaking sorcerers, and massive battles unfurl in a world notable mostly for its corruption, constant deceit, and an assumption that nothing ever really goes right. Never an especially good bunch of guys, by the book’s end, several important members of the company have grasped the awfulness of their employer and have started to have second thoughts about remaining in her pay. That may not sound original in 2018, but back in 1984, villains as protagonists was mind-blowing.

The novel is presented as a volume from the annals of the Black Company, a notorious band of sell-swords, as written by the company’s annalist and surgeon, Croaker. Not a senior officer, but not a grunt either, he serves as the perfect narrator of the book’s calamitous and epic events. He’s rarely in on the plotting out of the Company’s next missions, but he’s usually in a position to participate in the more important aspects of them.

There’s a sizable epic fantasy-sized cast in The Black Company, but by focusing so intently on a single character, Croaker, the story’s told on a very human scale. Croaker’s primary concerns, as a member of the company and as its doctor, are for the lives of his brothers-in-arms, more than for the concerns of empire. Through him we get a feel for the most prominent of the company’s soldiers and wizards. We see huge events from the perspective of someone effected by them but without any significant control over them. This is not a book about the destinies of kings and princes or heroes and wizards, but men who carry spears, grumble about bad rations, and worry about paying off their debts from losing at cards.

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