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Vintage Treasures: Nebula Winners Fourteen, edited by Frederik Pohl

Vintage Treasures: Nebula Winners Fourteen, edited by Frederik Pohl

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Nebula Winners Fourteen-small Nebula Winners Fourteen-back-small

Back in May, more or less on a whim, I paid $6.59 for a copy of the British paperback edition of Nebula Winners Fourteen, edited by Frederik Pohl. I already had the Bantam version (see below) but the gorgeously moody cover by the great Bruce Pennington hypnotized me, and what could I do?

I’m glad I did it, anyway. In this hot Illinois summer, a book I can dip into while relaxing on the porch is a perfect antidote, and having Nebula Winners Fourteen conveniently on hand has reminded me just how outstanding the Nebula anthologies were, and are, year after year. This one, for example, includes the three 1978 Nebula short fiction award winners, plus a 30-page excerpt from the winning novel:

“The Persistence of Vision,” by John Varley (Best Novella)
“A Glow of Candles, a Unicorn’s Eye,” by Charles L. Grant (Best Novelette)
“Stone,” by Edward Bryant (Best Short Story)
An Excerpt from Dreamsnake, by Vonda N. McIntyre

But it also includes some superb nominees, as selected by Pohl, including C. J. Cherryh’s Hugo Award-winning short story “Cassandra,” and Gene Wolfe’s massive 60-page novella “Seven American Nights.” I imagine Pohl got a lot of grief for cramming two long novellas into a slender paperback, displacing a lot of award-nominated short fiction in the process, but the years have proven the astuteness of his choice. “Seven American Nights” is one of the most acclaimed stories of the 70s, still discussed and enjoyed today, whereas the winner in the novella category, Varley’s “The Persistence of Vision,” is considered by many to be overrated (including by me.)

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Black Gate Book Club, Downbelow Station, Final Discussion

Black Gate Book Club, Downbelow Station, Final Discussion

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BdS1Welcome to the final round of the Black Gate Book Club, where we hash out or feelings and impressions on C.J. Cherryh’s 1981 classic Downbelow Station (DbS).  We also give DbS our final score– and things get contentious!

Need to catch up on the discussion?  Easily done with these convenient links to the first, second, third, and fourth rounds.

Adrian S.

I finished DbS last week. Third time was on the money!  Since I appeared to be the slow elephant I assume that everyone else was probably finished before I was.  In our set-up for the Black Gate Book Club we said that we’d give a final 1 to 10 rating on the books and this is our opportunity for that, as well as for final thoughts/quibbles/arguments.

Me? I’m going to give DbS a 6 out of 10.

I acknowledge the vastness of the story and the world(s) that Cherryh constructed. It is intricate, it is dynamic, it is chaotic; she has two generations of station masters vs. two generations of saboteurs, vs. a rag-tag Company Fleet, vs. an unknown foe of the Union forces, and throws in the Downers and the Merchanters and all that.

That said, did we really have to spend 300 pages setting the board so that some things could start happening? Yes, I get it, a slow burn, small disasters leading to bigger disasters.  But 300 pages of it?

300 pages of characters that seem completely interchangeable. Is there much of a difference between Angelo Konstantin and his sons Emilio and Damon.  Is there much of a difference between Emilio and Damon?   Ditto Jon Lucas and his two sons?   Double ditto between Conrad Mazian and Seb Azov.  Double damn ditto the women in the story,  Miliko (Emilio’s wife) and Elene (Damon’s).

I’m going to expand on something that Chris Hocking said about Cherryh’s lack of a sense of wonder. Not only is there no real sense of wonder, but Cherryh seems to be able to only write one real emotional state—a crippling sense of dread (CSoD).  And that’s why each of those characters comes across pretty much the exact same way—they all have intricately explored, elaborated, and expanded CSoD.  There seems to be no character that she doesn’t put into a claustrophobic environment to stew in their own cold terror.

That’s why Jon Lukas, Jessad, Ambassador Ayers and even Satin stand out in this story like giants—they are the only characters who take an active hand in their own fate.  Even Bran Hale and the goon from Q , secondary characters at best, bestride Downbelow Station like colossi because they do something. The rest just bounce around like terrified pinballs until they are finally forced to take some action.

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On Rivers of Blood: Fevre Dream by George R.R. Martin

On Rivers of Blood: Fevre Dream by George R.R. Martin

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Fevre Dream Subterranean-small

For many of his fans, George R.R. Martin’s A Song of Ice and Fire (aka A Game of Thrones, the title of the first book in the series) is considered to be his masterpiece. Undoubtedly GOT is his magnum opus, but for me his masterpiece is 1982’s Fevre Dream, which is one of my favorite vampire novels. Everything about this novel — setting, characters, prose, theme — reads as if Martin had channeled Mark Twain and Bram Stoker, had conjured them from beyond the veil to look over his shoulders while he penned this wonderful tale.

Fevre Dream is set in the antebellum south of the United States between the years 1857 to 1870, along the Illinois, Ohio, and Mississippi Rivers. The main characters are a riverboat captain named Abner Marsh, a big, ugly, gruff but honest and honorable man, and Joshua York, a heroic and noble vampire who many of his kind eventually come to think of as their savior, the Pale King. The main thread deals with Marsh’s partnership and eventual friendship with York. And it’s this unlikely friendship that is at the heart and soul of this incredibly thoughtful and well-written novel. It begins when York approaches Marsh one night and offers him a grand business opportunity — to build the largest, fastest and most glorious riverboat ever seen, a riverboat painted all sparkling white, to which they give the name Fevre Dream.

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Birthday Reviews: Robert Lynn Asprin’s “No Glad in Gladiator”

Birthday Reviews: Robert Lynn Asprin’s “No Glad in Gladiator”

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Cover by Gary Ruddell
Cover by Gary Ruddell

Robert Lynn Asprin was born on June 28, 1946. He died on May 22, 2008.

Asprin won the coveted Balrog Award for the Thieves’ World anthologies Shadows of Sanctuary and Storm Season. The first anthology in the series, Thieves’ World, was nominated for the World Fantasy Award. In addition to his work on the shared world series, Asprin is also known for his long-running Myth series, featuring Skeeve and Aahz. Other series, often written with co-authors, include Phule’s Company, Time Scout, and The Cold Cash War. For a time, Asprin was married to Lynn Abbey, who co-edited several of the Thieves’ World anthologies and eventually resurrected the series in the 2000s.

“No Glad in Gladiator” was published in the ninth volume of the Thieves’ World series, Blood Ties, edited by Asprin and Lynn Abbey in 1986. Its only reprinting was in the third Thieves’ World omnibus edition which included volumes 7-9, The Shattered Sphere.

The gladiator slave Jubal was one of the first characters introduced in the Thieves’ World shared world series, conceived by the series creator, Robert Lynn Asprin. By the time the ninth volume rolled around, Jubal had enjoyed his triumphs and suffered his set backs. In “No Glad in Gladiator,” Asprin has cast him in the role of eminent grise, showing a meeting between Jubal and Chenaya, a Rankene noblewoman and gladiator who is trying to make her way in Sanctuary.

Despite both characters’ background as gladiators, “No Glad in Gladiators” is a relatively static story. Asprin has the two characters sitting in a room talking, Chenaya’s looking for an alliance with Jubal and Jubal, after explaining why he isn’t interested in an alliance, explains to Chenaya all of her shortcomings. The story doesn’t fully work without its larger context. Jubal provides enough information about himself for the reader to understand who he was, and is, but Chenaya’s history is only painted in broad strokes, making her something of an enigma.

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Black Gate Book Club, Downbelow Station, Fourth Discussion

Black Gate Book Club, Downbelow Station, Fourth Discussion

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DBS7

Welcome back to the Black Gate Book Club! We are rapidly closing in on C.J. Cherryh’s Downbelow Station (DbS).  You can get to speed with the first, second, and third rounds.

Adrian S.

Fourth round!

Okay, page 285 and Fletcher, you are right that things are (finally) happening quick. The Union Fleet has dropped into the system, and the Company Fleet and the militia go out to meet them.  I like the idea that all the ships look the same on scan, whether they are jump-capable merchanters or in-system merchanters, or Fleet Carriers or whatever—they all look the same until they maneuver or start to fire.

Jon Lukas has become the bad guy that he was hinted at with a full murderous take-over of Downbelow Station.   Of course, he’s made a choice on which side he’s on, gambling that the Union is going to win, and from there getting roped into helping Union win.  This puts him with a lot of targets on his back.

Kressich is in the exact same boat, but with more targets on his back, he’s terrified of his people in Q, and terrified of his own security, but once the shooting starts, he is one of the few people who has security and has people.

The relationship of the “leaders” to their armies/militias is interesting.

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The Wonderful Adventures of “Mr. Jones,” the Electric Man

The Wonderful Adventures of “Mr. Jones,” the Electric Man

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1913-02 The Black Cat cover

A special treat this time: a lost robot story that nobody has seen for more than a century.

Supernatural tales, ghost stories, odd occurrences, mysterious disappearances, and bizarre inventions all found a home in The Black Cat, a magazine founded in 1895, a year before the first pulp magazine appeared. Mike Ashley calls it “a spiritual ancestor to Weird Tales.” The stories were proto-genre, a mixture of what then got called “unusual” stories, a term that must have had more currency in the 19th century. It was founded by 44-year-old Herman Daniel Umbstaetter, who went by the initials H. D. Not content with being editor and publisher, he seeded the magazine with his own stories, some under pseudonyms, until it took off on its own. Covers were illustrated by his much younger wife Nelly, usually with some variation of the stylized black cat staring spookily out at the reader that appeared from from the first issue.

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Vintage Treasures: Jack Dann & Gardner Dozois’ 40-Volume Reprint Library

Vintage Treasures: Jack Dann & Gardner Dozois’ 40-Volume Reprint Library

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Bestiary Dann Dozois-small Aliens Among Us-small

The impending release of Gardner Dozois’ 35th and final Year’s Best anthology next month brings us to the end of an era. Hard as it is to believe, after his final books are released in the next few months, there will be no more magazines, stories or anthologies from one of the most gifted editors the field has ever seen.

Many readers are unaware that, as prolific as Gardner was as a magazine and Year’s Best editor — 17 years at the helm of Isaac Asimov’s Science Fiction Magazine, and 35 years as the editor of the annual Year’s Best Science Fiction — his greatest contribution to the field, at least in terms of raw numbers, was as an editor of standalone anthologies. He produced many dozens, including 21 volumes collecting stories from Asimov’s, such as Isaac Asimov’s Detectives (1998) and Isaac Asimov’s Halloween (2001), most co-edited with Sheila Williams.

But his most fruitful partnership was with Jack Dann, which whom he co-edited some 40 themed science fiction and fantasy anthologies between 1976 and 2009, almost all paperback originals with Ace Books. These included 22 volumes in the Exclamatory Series, called that because the anthologies had one-word titles with an exclamation point, like Magicats! (1984), Bestiary! (1985), and Invaders! (1993), and an additional 18 themed reprint volumes, such as Armageddons (1999), Aliens Among Us (2000), and A.I.s (2004).

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Birthday Reviews: Mercedes Lackey’s “A Different Kind of Courage”

Birthday Reviews: Mercedes Lackey’s “A Different Kind of Courage”

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Cover by Richard Hescox
Cover by Richard Hescox

Mercedes Lackey was born on June 24, 1950.

Lackey has been nominated for the Lambda Award three times, winning for her novel Magic’s Price in 1991. Her novel The Ship Who Searched, written in collaboration with Anne McCaffrey, was nominated for the Seiun Award and her novel The Fire Rose was nominated for the Sapphire Award. In addition to her collaborations with McCaffrey, she has also collaborated with Joseph Sherman, Ru Emerson, and Mark Shepherd on the Bard’s Tale series, with Ellen Guon and Rosemary Edghill on the Bedlam Bard series, with husband Larry Dixon, Holly Lisle, Cody Martin, and Roberta Gellis on the SERRAted Edge series. Other collaborators include Dave Freer, Eric Flint, Andre Norton, Marion Zimmer Bradley, James Mallory, C.J. Cherryh, and others.

“A Different Kind of Courage” was Lackey’s first sale and originally appeared in Free Amazons of Darkover, a shared world anthology set in Marion Zimmer Bradley’s world of Darkover and edited by Bradley in 1985. The story was reprinted by Steven H Silver and Martin H. Greenberg in Magical Beginnings, an anthology of the first stories by various fantasy authors. In 1988, “A Different Kind of Courage” was translated for the German publication of Freie Amazonen von Darkover.

Rafi is an outcast, someone who doesn’t fit in anywhere and has failed at everything she has tried to do. After she was ejected from training as a Keeper, her father planned to marry her off to Lord Dougal, who has a reputation for having his wives killed. Rather than marry Dougal, she runs away and joins the Free Amazons, where she quickly discovers she has neither the strength, stamina, nor ability to be successful. Her partial training as a Keeper, however, causes her to be sent on a mission with Caro and Lirella, neither of whom want to be saddled with her. One evening, they sent her out to gather firewood, a task she also fails.

Upon returning to her companions, she finds that they have been attacked and, although they have defeated their attackers, both have horrible wounds. Rafi does what she can for them, overcoming her fear of their pack animals to use them to drag the women inside where she treats their wounds and keeps them warm. She also uses her Keeper training to reach out to seek additional help. She does what she can through the night, but by the time help arrives, Rafi is, herself, on the verge of death.

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Black Gate Book Club, Downbelow Station, Third Discussion

Black Gate Book Club, Downbelow Station, Third Discussion

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Welcome to the second round of discussion on C.J. Cherryh’s classic 1981 novel Downbelow Station. New to the program? Check out the first and second rounds. We lose Chris on this one, perhaps a casualty of a bad Jump from the Beyond. Fletcher and myself carry the standard of the Black Gate Book Club as best we can!

Adrian S.

DBS5

Third round! And it is appropriate that I just started book 3 of DbS.  I’m on page 190, so I have surpassed my previous record of 169.

What can I say at this point? Well, my guess that conspicuously-absent Admiral Mazian was, in fact, behind the destruction of several company/neutral stations has borne out to be true!  I guess the big game is to try to force the Union to take control of these damaged stations and spread themselves too thin?  And to put all their resources at a station called Viking—the only 100% working station in Union space, I guess?  And to attack/destroy/cripple it and thus break the Union.

Of course, Union seems to be playing the same trick — forcing the refugees all to Downbelow Station, which has now become the one 100% working station in Company space.

So that’s what the power-players are doing, and everyone else is just running around between their feet.

I like how Cherryh illuminates parts of the plot, then occludes other parts. The sudden retreat of Mazian’s fleet from the Viking attack — was it due to Ambassador Ayer’s orders, or some other factor?

But again, I have to say that Jon Lukas, who does the right things for the wrong reasons, is still coming off as one of the only active people in the book. Honestly, how hard is it to get on the goddam PA system and say “Yes, the fleet is coming, no we are not all gonna die, keep calm and carry on.” Hard enough that only Jon Lucas can do it and keep Downbelow Station from tearing itself apart in a panic!

Satin, the Downer now working on Downbelow Station, is also active in that she is following her vision-quest thing regardless of what the older Downers and the Lukas-men and everyone else thinks.

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Birthday Reviews: Vivian Vande Velde’s “The Granddaughter”

Birthday Reviews: Vivian Vande Velde’s “The Granddaughter”

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Cover by Bran Weinman
Cover by Brad Weinman

Vivian Vande Velde was born on June 18, 1951.

Her novel Never Trust a Dead Man received the Edgar Award for Best YA Novel in 2000 and Heir Apparent was nominated for the Mythopoeic Award for Children’s literature in 2003.

Vande Velde initially published “The Granddaughter” in her 1995 collection Tales from the Brothers Grimm and the Sisters Weird. The story was selected by Terri Windling for inclusion in The Year’s Best Fantasy and Horror: Ninth Annual Collection, edited with Ellen Datlow. Asdide from those appearances, the story has not been reprinted.

Retellings of fairy tales have a long established role, in fact the earliest version of fairy tales are often just the first version of a retelling of an oral tradition. Vivian Vande Velde has targeted the story of “Little Red Riding Hood,” which dates back at least as far as the tenth century and has been retold by both Charles Perrault and the Brothers Grimm. In “The Granddaughter,” Vande Velde’s focus is on the wolf, who can speak and is good friends with the title character’s grandmother.

Little Red Riding Hood, who is also known as Lucinda in this version, although she prefers the nickname, is an aspiring actress, almost completely self-centered, and horrified that her grandmother would be friends with a wolf, even one who can speak. The wolf, for his part, is equally horrified at Lucinda’s attitudes and inability to allow anyone else speak during a “conversation.” Not, at first understanding the grandmother’s reluctance to have Lucinda visit, the wolf quickly comes around to her point of view and works to rescue the woman from her granddaughter’s visit.

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