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Vintage Treasures: Red Dust by Paul J. McAuley

Vintage Treasures: Red Dust by Paul J. McAuley

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Red Dust Paul McAulley-small Red Dust Paul McAulley-back-small

Paul J. McAuley was the first book reviewer for Black Gate, way back in 2000-01. His first novel, the far-future space opera Four Hundred Billion Stars (Del Rey, 1988) won the Philip K. Dick Award, the sequels Of the Fall and Eternal Light appeared in 1989 and 1991.

His first standalone novel Red Dust, set on a far-future Mars colonized by the Chinese, was published by Gollancz in the UK in 1993 and AvoNova in the US in 1995. It was packed with big ideas and technologies that are still being explored in SF today, including personality downloads, biotech, virtual reality, nanotech, A.I, and a lot more. Kirkus Reviews raved, saying:

An extraordinary saga.. Seven hundred years hence, a depopulated Earth is ruled by the Consensus eco-fanatics who allow nothing to change; on Jupiter, a self-aware probe calling itself the King of the Cats broadcasts rock music and propaganda; various dwindling groups of dissenters inhabit the asteroid belt; and Mars, habitable but slowly reverting to dust and drought and populated mostly by Chinese, is ruled by a committee of ruthless old men called the Ten Thousand Years, who, in a secret pact with the Consensus, have agreed to let Mars die in return for personal immortality. Young technician Wei Lee, who believes himself beholden to his great-grandfather, one of the Ten Thousand Years, stumbles upon a spaceship crashed in the dust… McAuley’s Mars is at once satisfyingly familiar and disquietingly alien: cultural contrasts, persuasive inventions, and constant surprises are set forth with a weird yet compelling logic. Superb.

The novel has never been reprinted in the US, but copies are still fairly easy to find online. I bought the brand new copy above on eBay for $4 two months ago. It was published by AvoNova in November 1995; it is 392 pages, priced at $4.99 in paperback. The cover is by Tim Jacobus. A digital edition was published by Gollancz/Orion in 2010. Our previous coverage of Paul J. McAuley includes his recent Choice Series and his Confluence novels.

Don’t Mess with Mary: P.L Travers’ Mary Poppins

Don’t Mess with Mary: P.L Travers’ Mary Poppins

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Saving Mr. Banks poster-small

Saving Mr. Banks (2013)

I don’t know what this year’s big Christmas movie will be, but a few years ago, the unavoidable holiday hit that was in every theater was Disney’s Saving Mr. Banks, which told the heartwarming story of how Walt Disney (Tom Hanks) pulled out all the stops in persuading Patricia L. Travers (Emma Thompson) to permit him to make a movie featuring her creation, Mary Poppins. I didn’t see the movie, though from everything I heard it was both a thoroughly professional entertainment and a disgraceful whitewash of the events it purports to dramatize. (If you haven’t seen Harlan Ellison’s hilarious takedown of the film, it’s ready and waiting on YouTube, anytime you can make sure that the children are safely out of the house.)

Travers always regretted the necessity of giving in to Disney, but necessity it was; she badly needed the money, and Walt knew it. Considering the circumstances, she drove as hard a bargain as she could, fighting tirelessly to preserve the essence of her creation, even as she knew that she was doomed to fail, as fail she did.

Nevertheless, the movie that resulted from Walt’s blandishments, 1964’s Mary Poppins, is reckoned one of Disney’s greatest accomplishments, both artistically and commercially, winning five Oscars (including a best actress statuette for Julie Andrews’ portrayal of Mary) and grossing close to one hundred million dollars on a six million dollar budget. When Walt was right, he was right.

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Vintage Treasures: Soldier Boy by Michael Shaara

Vintage Treasures: Soldier Boy by Michael Shaara

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The Killer Angels Michael Shaara-small Soldier Boy Michael Shaara-small Soldier Boy Michael Shaara-back-small

Michael Shaara won the Pulitzer Prize for his 1974 Civil War novel The Killer Angels. It was a huge bestseller, selling more than 2 million copies worldwide, and became the basis for the 1993 film Gettysburg.

Most of Shaara’s legion of fans don’t know that he began his career as as a science fiction writer. His first publication was “Orphans of the Void” in the June 1952 issue of Galaxy Science Fiction. Matthew Wuertz has been reviewing the entire back catalog of Galaxy since its first issue; he described the story thusly.

Captain Steffens and his crew explore the Tyban solar system. They find the third planet populated by millions of robots. The robots are telepathic, in the likeness of their makers, who are nowhere to be found. Yet the robots continue to await the return of their makers, for their longing to serve is their primary function. This was a marvelous tale of first encounters. It plays out well, with a touch of sadness that leads to great hope.

Over the next 30 years Shaara’s short fiction appeared in genre magazines like F&SF, Astounding, Fantastic Universe, and Galaxy. In 1982 he issued a single collection gathering most of his finest short fiction, Soldier Boy, published through David Hartwell’s legendary Timescape imprint at Pocket Books.

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Wings, Wind, and World-Wreckers: The Best of Edmond Hamilton

Wings, Wind, and World-Wreckers: The Best of Edmond Hamilton

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Best-of-Edmond-Hamilton-SFBCJames McGlothin has been providing excellent continuing coverage on Black Gate of Del Rey’s famous “The Best Of…” anthologies that shaped many SF readers in the 1970s. He was kind enough to allow me to take a pile of notes I’d assembled for Del Rey’s The Best of Edmond Hamilton (1976) and do an entry in the series. I also sought the blessing of our editor John O’Neill because Edmond Hamilton is his favorite pulp author and I wanted to feel sure I wasn’t intruding too far into another’s territory. Both James and John are welcome to trash Edgar Rice Burroughs and Godzilla as much as they want after this.

I’ll admit to having absorbed less Edmond Hamilton than I should. I’ve read some of his short fiction, but only one of his novels, The Star Kings (1947), a science-fiction variant on The Prisoner of Zenda that’s about as thrilling as Golden Age space opera gets. (Because John O’Neill will ask, I read the original magazine version of The Star Kings, not the later book revision with the sequel-friendly ending.) I’m more familiar with the work of Hamilton’s wife, Leigh Brackett, one of the great science-fiction writers and one of my favorite authors of all time. Their marriage didn’t lead to frequent collaborations, as the marriage of C. L. Moore and Henry Kuttner did. I’m glad Hamilton and Brackett maintained separate writer identities, and the feeling became sharper after reading this selection of what Brackett thought was her husband’s finest short fiction.

I’ve read many of the Del Rey “Best Of…” volumes, but few that I’ve enjoyed as consistently as this one. It’s not only because Hamilton was a superb writer — all the authors in the series were first-rank SF masters — but because of two specific factors.

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Vintage Treasures: Farewell Fantastic Venus! edited by Brian W. Aldiss with Harry Harrison

Vintage Treasures: Farewell Fantastic Venus! edited by Brian W. Aldiss with Harry Harrison

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One of the things I love about pulp SF is its romanticized view of our solar system. The ancient canals and lost cities of Mars, the steaming dinosaur-ridden swamps of Venus. I can still remember the bitter disappointment I felt when I first learned that science had proven Venus completely inhospitable to life. It felt like the solar system had been robbed of its greatest potential for extra-planetary adventure.

Many SF writers felt very much the same way. Two recent anthologies from Gardner Dozois and George R.R. Martin, Old Mars and Old Venus, have done a splendid job re-capturing some of that old pulp magic with a generous sampling of modern tales set in retro-versions of both planets.

But they weren’t the first books to celebrate a cherished (and now obsolete) vision of our solar system. That honor probably goes to Farewell Fantastic Venus!, a 1968 anthology released shortly after the first probes reached Venus, and the hard truth was revealed. The book contains classic Venusian fiction by Arthur C. Clarke and John & Dorothy de Courcy, and two novellas by Poul Anderson, including a Psychotechnic League tale. There’s also a rich sampling of novel excerpts by Olaf Stapledon, Edgar Rice Burroughs, C. S. Lewis, and others. All that plus science articles by Frank R. Paul, Carl Sagan, Sir Bernard Lovell, Willy Ley, and others.

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A Return to Terry Carr’s Best Science Fiction of the Year

A Return to Terry Carr’s Best Science Fiction of the Year

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My taste in science fiction — like my taste in music and film — was shaped early. What I learned to love as a teen I largely still enjoy… with some exceptions. One of those exceptions is Terry Carr’s Best Science Fiction of the Year. I picked up my first one in 1977, at the age of 13, and I discovered pretty quickly that they weren’t for me. I went back to reading pulp SF in books like Before the Golden Age, and was blissfully happy to do so for many years.

I’ve returned to Carr’s Best Science Fiction of the Year recently, and discovered why I didn’t connect with them four decades ago: unlike many of his contemporaries, Carr brought an adult eye to SF, and the fiction he selected spoke to adults. It still speaks to adults today, clearly and with no loss of voice, and I now consider Carr’s Best volumes — especially the ones he did in the mid-70s — to be some some of the best SF anthologies ever printed. Here’s what I said last year about #3, published in 1973.

How incredible was The Best Science Fiction of the Year #3? It contains some of the finest science fiction stories of all time, packed into one slender volume. Like “The Women Men Don’t See” by James Tiptree, Jr… perhaps her most famous story, and that’s saying something. And Vonda N. McIntyre’s Nebula Award-winning “Of Mist, and Grass, and Sand,” which became the basis of her 1978 novel Dreamsnake (which swept the Hugo, Nebula, and Locus Awards the following year.) And Harlan Ellison’s classic “The Deathbird,” the Hugo and Locus Award-winning title story of his celebrated 1975 collection Deathbird Stories. Plus Gene Wolfe’s famous “The Death of Dr. Island,” winner of the Locus and Nebula awards for Best Novella.

And an unassuming little story by a young writer named Ursula K. Le Guin, “The Ones Who Walk Away from Omelas,” which won the Hugo Award for Best Short Story, and is considered by many (me included) to be one of the finest short stories ever written. And lots more — including a Jack Vance novella, plus stories by Philip José Farmer, Alfred Bester, R. A. Lafferty, Robert Silverberg, and F. M. Busby. All for $1.50!

Last month I purchased a fine collection of six Best Science Fiction of the Year volumes (pictured above) on eBay for the criminally low price of $7. They arrived a few weeks ago, and I’ve stolen a few minutes here and there to dip into them. It’s been an enormously rewarding experience.

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Old Empires and Armored Planets: Rich Horton on The Sun Smasher by Edmond Hamilton and Starhaven by Ivar Jorgenson

Old Empires and Armored Planets: Rich Horton on The Sun Smasher by Edmond Hamilton and Starhaven by Ivar Jorgenson

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The Sun Smasher Edmond Hamilton-small Starhaven Ivar Jorgenson-small

Rich Horton has been reading through the Ace Double library over at his blog Strange at Ecbatan. His last few selections have been duds, but I’m optimistic about Edmond Hamilton’s The Sun Smasher and Ivar Jorgenson’s Starhaven, Double #D351, published in 1959. Edmond Hamilton was my favorite pulp SF writer, and “Ivar Jorgenson” was a pen name for none other than Robert Silverberg.  Here’s Rich.

Each of these novels was published earlier in a single issue of a magazine, possibly (especially in the case of the Jorgenson novel) in shorter versions. The Sun Smasher appeared as “Starman Come Home” in the September 1954 Universe Science Fiction, while Starhaven appeared as “Thunder Over Starhaven” in Science Fiction Adventures for October 1957. (I suspect the Hamilton novel, which is the shorter of the two at about 30,000 words, probably is the same version as appeared in the magazine, but the “Jorgenson” story, some 40,000 words long or more, is expanded, as Silverberg discusses below.)

The covers of the magazine editions of these stories are something of a real delight, so I’ve reproduced them here.

I always enjoy Rich’s reviews of classic SF. But when he starts throwing in vintage magazine covers, you know he’s really speaking my language.

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Vintage Treasures: Changing Fate by Elisabeth Waters

Vintage Treasures: Changing Fate by Elisabeth Waters

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Elisabeth Waters’ first publication, “The Keeper’s Price,” was co-authored with Marion Zimmer Bradley and appeared in Bradley’s 1980 Darkover anthology The Keeper’s Price and Other Stories. That launched a lengthy writing career that includes over 40 short stories and a novel in the Trillium series, also co-authored with Bradley. Since 2007 Waters has been the driving force behind the Sword and Sorceress anthology series, taking over with Volume XXII at Norilana Books. The most recent,  Volume 32, was released last month by the Marion Zimmer Bradley Literary Works Trust.

Waters published a single standalone novel, Changing Fate, in 1994, with a striking wraparound cover by Lord of the Rings artist John Howe. It grew out of the short story “A Woman’s Privilege” in Sword and Sorceress 3, published in 1986; it was nominated for the Locus Award for Best First Novel, and won Andre Norton’s Gryphon Award. A sequel, Mending Fate, finally appeared last year, 22 years after the first volume, from the Marion Zimmer Bradley Literary Works Trust.

Changing Fate was published by DAW Books in April 1994. It is 240 pages, priced at $4.99 in paperback. The cover is by John Howe. It was reprinted in trade paperback and digital formats in 2015. Read more at Elisabeth Waters’ website.

Little Miss Martian

Little Miss Martian

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Other Worlds, May 1951. Cover by Hannes Bok

Other Worlds Science Fiction launched in November 1949, part of the boom in f&sf magazines in a postwar world that retroactively realized their worth after real life rockets and atomic bombs made headlines. It was frankly third-tier, half written by Rog Phillips under pseudonyms and half by younger writers striving to make their mark. After a year or two, though, some bigger names like Ray Bradbury, A. E. van Vogt, and Robert Bloch were lured in and a few of the newcomers would develop into stars of equal rank. Even so, fans read it for fun and excitement, not literary quality. Issue after issue sated with a plenitude of humor stories, starting with the Hoka series by young Poul Anderson and Gordon R. Dickson, and robot stories, including ones by Bradbury, van Vogt, and Bloch, and humorous robot stories, many by authors nobody remembers (such as Hodge Winsell, whose two atrocities comprise his entire f&sf oeuvre).

One reason for the increase in quality was hidden from readers. The editor for the first issue was listed as Robert N. Webster, another pseudonym. Knowledgeable fans would have been tipped off by the presence of “The Fall of Lemuria” by Richard S. Shaver, a true screwball who might have believed in his stories about an alien civilization hidden within the Earth. Ray Palmer had pushed circulation at Amazing Stories to the  f&sf magazine peak with Shaver until his bosses grew tired of the slime on their fingers. Sure enough, Robert N. Webster was Ray Palmer and Other Worlds was headed down that same path.

And then the horribly unlucky Palmer, who grew up hunched and dwarfed after a car accident when he was seven, slipped, fell, and became temporarily paralyzed from the waist down. A 21-year-old fan, Bea Mahaffey, who was already on the payroll as Managing Editor, i.e. editor of scutwork, quietly took over, adding Marge Budwig Saunder to replace her hands-on jobs. Today it’s given that the sudden veer away from Shaver and toward solid second-tier status is attributable to Mahaffey.

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My All-Story Story, or, A Tale of Tarzan (Not Triumphant)

My All-Story Story, or, A Tale of Tarzan (Not Triumphant)

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Those who know me well are aware that I’m not a morning person (to put it mildly). Accordingly, they’d be shocked to learn that not only did I get up on Saturday, November 25th morning at 5:00 a.m., I did so voluntarily and eagerly! As collectors will attest, however, no price – even missing hours of delightful sleep! – is too great to pay in the pursuit of one of your collecting grails. Of course, it’s much more gratifying when the pursuit pays off. Unfortunately for me, it did not. Even so, I’m glad I got up to give it a shot.

About a week ago, I learned that an auction house in England would be auctioning off a copy of the October 1912 issue of The All-Story, which features Edgar Rice Burroughs’ complete novel, Tarzan of the Apes. All other things being equal in terms of condition, that issue is the most valuable of all the pulp magazines (the nicest copy I’m aware of having sold at auction, in fine condition, sold over a decade ago for nearly $60,000). This auction house clearly had no idea of its value, as their pre-sale estimate was between 20 and 40 pounds! A decent copy of this pulp has been my number one pulp grail for decades, and I hoped that this one would slip through the collecting cracks on its way to me. The auction house only had one photo of it online, and I couldn’t obtain any other photos of it, so condition was a bit of a guess, which complicated bidding. The front cover had some overall wear, but generally looked decent, but I had no clue on the condition of the spine, back cover or paper. See the photo above.

What made this particularly interesting was that it was the British edition of The All-Story, rather than the American edition. For a period of time in the teens (and I think going back a little earlier than that), The All-Story was also published in Britain, with the same cover date as the American edition. The covers noted that the price was Six Pence, rather than Ten Cents, and I believe the ads were different, but the fiction content was the same. I assume that the British edition was published at least a few days later than the American edition (the October 1912 American edition actually went on sale on September 10, 1912), but I don’t know how much of a delay there was. My guess is that it was later than the American edition, so technically this was not the first printing of the story, unlike the American.

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