Goth Chick News: Mrs. Torrance Goes Back in Front of the Camera

Goth Chick News: Mrs. Torrance Goes Back in Front of the Camera

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Shelley Duvall, 1970

By now it’s no secret that filming The Shining took a serious toll on Shelley Duvall. Calling this my number one favorite horror movie while acknowledging this fact takes some of the joy out of watching what is an incredible performance on Duvall’s part. Her vulnerability and frailness alongside her emotional bully of a husband, played by Jack Nicolson, is a big part of what Stephen King hated about director Stanley Kubrick’s interpretation of King’s work. If you’ve ever read the novel The Shining, then you know Duvall’s character Wendy as a much different person. But it is the performance Kubrick wrenched out of Duvall that really makes the film. She personifies the horrors happening around her, which are etched on her face in nearly every scene.

And before you say that perhaps Duvall was already mentally fragile when she went to work on the film, and Kubrick’s isolating, task-master tactics was him just being a brilliant director, I invite you to watch the documentary filmed by Kubrick’s daughter. Vivian Kubrick was 17 when she filmed and directed The Making of the Shining for the BBC, alongside the actual filming of the movie. The short film eventually appeared on DVD editions of The Shining. But it wasn’t until 30 years after its making, and a lot more enlightenment about mental health issues, that the documentary generated articles and conversation about the mistreatment of Duvall by Kubrick which was evident throughout.

I found The Making of the Shining in its entirety on YouTube if you want to see for yourself…

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Random Reviews: “In the Bookshadow” by Marianne de Pierres

Random Reviews: “In the Bookshadow” by Marianne de Pierres

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Cover by John Picacio

In 2002, Greg Ketter, the owner of Minneapolis’ DreamHaven Books, published the original anthology Shelf Life: Fantastic Stories Celebrating Bookstores. The anthology includes one of my favorite stories, P.D. Cacek’s “A Book, By Its Cover.” It also included sixteen other stories, and, while I have re-read Cacek’s story over the years, I haven’t necessarily re-read many of the other stories since the book was originally published. While the book includes work by major names such as Neil Gaiman, Gene Wolfe, Charles de Lint, Nina Kiriki Hoffman, and Harlan Ellison, it also contains stories by less well-known names, including Marianne de Pierres, who had only published a handful of stories when Shelf Life came out, although she has proven to be more prolific in the years since.

Her contribution of Shelf Life is the story “In the Bookshadow,” which explores some of the more marginal customers at a bookstore. Anyone who has worked in retail knows that there are a variety of customer types.  Most come and, make their purchases, and leave, the presence only noted by the brief exchange at the cash register. Others are star customers. The staff knows them and looks forward to their visits. They are personable, spend a lot of money, and make the employees feel as if they are doing a real service. De Pierres’ protagonist is the employee who takes care of the marginal customers who give everyone else the willies.

When she begins to start seeing things out of the corner of her eye in the bookstore, she points them out to the customers, who don’t confirm her visions, but also appear to be doing something to protect her from the strange entities that seem to appear when nobody else is around.

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Ellsworth’s Cinema of Swords: Buccaneers Three

Ellsworth’s Cinema of Swords: Buccaneers Three

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The Buccaneer (USA, 1958)

Pirates were a popular subject in midcentury Hollywood — but piracy, not so much, because it was obviously committed by bad people who would take all your stuff, given the chance (and maybe do worse). Thus the common cinematic usage of the term buccaneer, which sounds like it just describes a gentleman adventurer with an attitude rather than someone who would casually cut your throat and throw your corpse over the side. Aye, call your pirate movie a buccaneer’s tale, and even theatrical markets in the iron grip of the Legion of Decency will smile and let your film be shown at Saturday matinees to audiences full of kiddies. All keelhauling is to be conducted offscreen, if you please.

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New Treasures: We Could Be Heroes by Mike Chen

New Treasures: We Could Be Heroes by Mike Chen

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We Could Be Heroes (Mira, November 30, 2021). Cover design: Elita Sidiropoulou

Okay, I’m a little late with this one (it was published nearly a year ago). But I just found it at Barnes & Noble a few weeks back, and it’s quickly floated up to the top of my TBR pile, so I claim special circumstances.

The superhero novel is enjoying its time in the sun right now. Veronica Roth had a bestseller with her superhero dark fantasy Chosen Ones; so did Marissa Meyer with her Renegades trilogy. But Mike Chen’s humorous novel of two former archrivals — one with the power to wipe minds, and one with super speed and strength — who meet in a memory loss support group and gradually realize they each hold the key to the other’s recovery, and the clues to a deadly mystery, is the one I’m clearing the decks for. Buzzfeed calls it “an incredibly fun and thoughtful take on superhero lore,” and Martin Cahill at Tor.com say it’s “Wonderful.”

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Talking The Rings of Power: Miriel

Talking The Rings of Power: Miriel

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Talking The Rings of Power continues; wherein I look at something good, and something bad, about one element of the show. Then I talk a lot more about Tolkien’s actual writings about it. THIS SERIES IS FULL OF SPOILERS – related to the show, and Tolkien’s writings. You have been warned!

I’m still working on the Numenor entry, as that Middle Earth version of the Atlantis story is a favorite. This week, I’ll look at Miriel, a tragic figure in The Silmarillion. Hurin, Thrain, Beren, Fingolfin, Miriel – lot of tragic characters in that book.

THE GOOD

Miriel is the Queen Regent of the mighty human nation of Numenor. Her father, Tar-Palantir, is a bit brain-addled and she is ruling in his stead. He dies in the final episode, which will formally make her queen. Though, she’s on a boat, coming back to Numenor, blinded from evil doings in the Southlands.

Cynthia Adddai-Robinson does a pretty good job as Miriel. Miriel is merely Tar-Palantir’s daughter and does not rule at all in The Silmarillion. So, the RoP folks are once again playing pretty free with the storytelling; but not quite fast as usual.

Miriel is haughty, intelligent, thoughtful, and we see her nobility of character. Kind of snotty, which befits a Numenorian, but also representative of the ‘good ones.’ They became a rather bad lot, and I’m sure we’ll see the opposite side of the coin, in Pharazon.

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The Frighteners: A Re-View in 3 Parts, Part 2: Humor & Horror Examples + A Recap

The Frighteners: A Re-View in 3 Parts, Part 2: Humor & Horror Examples + A Recap

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The Frighteners (Universal Pictures, 1996)

Read Part I: The Real-Life Inspiration here.

I hadn’t seen The Frighteners since it was in the theaters in 1996, until I watched it again last week. Twice. I had drastically different reactions between the second and third viewings.

After my first 2022 re-view, I came away thinking the movie was mainly just paying homage through pastiche to a lot of things. While it had interesting vignettes with diverse tones and styles, it never fully gelled into its own thing. It’s as if it went to a Halloween costume shop, tried on and modeled a dozen different outfits, then later said, “What did you think of my costume?” It was more a fashion show than a full narrative arc.

It was equal parts horror and humor. Often, an equal ratio doesn’t work well. It comes off as a split personality, or two different films sharing a movie reel. This is especially true when the humor isn’t a coping mechanism for the protagonist or an emotional vent for the audience. The humor was there, but it never really served a purpose in the way humor normally does when mixed with horror. The two parts seemed at odds.

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Vintage Treasures: The Best Science Fiction of the Year 11 edited by Terry Carr

Vintage Treasures: The Best Science Fiction of the Year 11 edited by Terry Carr

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The Best Science Fiction of the Year 11 (Timescape, July 1982)

I’ve realized I enjoy these old Terry Carr anthologies much more now than when they first appeared 40 years ago.

I wasn’t a sophisticated reader in those days (not that I’m particularly sophisticated today, but at least I’m more patient). I was still discovering science fiction, and purely on the hunt for tales of wonder and adventure. I’d read Carr’s Best Science Fiction volumes with a skeptical eye, not at all convinced I was actually enjoying the finest stories of the year, and skip anything that didn’t grab me in the first few pages.

Nowadays it’s a different story. When I plucked The Best Science Fiction of the Year 11 off my shelves last week, I was delighted to find it contained David R. Palmer’s Hugo-nominated novella “Emergence,” the tale of an 11-year-old girl traveling through a post-apocalyptic US; “The Thermals of August,” Edward Bryant’s Hugo and Nebula-nominated tale of wingsuit-wearing daredevils on a wonderfully realized alien world; Gene Wolfe’s Hugo-nominated classic “The Woman the Unicorn Loved,” about a genetically engineered unicorn that escapes onto a college campus; and Poul Anderson’s famous novella “The Saturn Game,” which swept all the major awards, about an immersive role playing game played by a crew exploring Saturn’s moons that turns unexpectedly deadly.

Opening these books now is a journey of discovery of a different sort. I’m not on the hunt for new authors, and not simply for entertainment, either. It’s more a journey into the past, a chance to explore some of the most innovative and exciting SF of 1981, and see what authors whom I’ve come to love were up to early in their careers — and, especially, find an overlooked fictional gem or two.

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I’ve got a fever, and the only prescription is more Andor

I’ve got a fever, and the only prescription is more Andor

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“Doctor, I’m at my wit’s end with my husband. He’s – changed. It’s like I’m in one of those paranoid movies.”

“I must repeat, madame, lie back. Take a deep breath. Tell me about it as if you are speaking to a trusted friend.”

“Well, it’s this show. Andor. It’s a Star Wars thing. My husband watches it every week. He’s anxious all Monday and Tuesday about it lately.”

“Ah yes. Tony Gilroy is the showrunner I believe.”

“I think so. At first it was just little things. So easy to dismiss. He’d be looking through his old Star Wars books, these sort of technical manuals, and when I asked him about it he said he was trying to figure out if the ship in ‘Kassa’ was an old BTL-B with the engine housing still on or something like that. He asked our son if any NERF guns looked like Cassian’s blaster.”

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Tales of Adventure and Exploration from the Pre-Spaceflight Era: Mike Ashley’s British Library Science Fiction Classics

Tales of Adventure and Exploration from the Pre-Spaceflight Era: Mike Ashley’s British Library Science Fiction Classics

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All ten anthologies in the British Library Science Fiction Classics edited by Mike Ashley,
plus his non-fiction survey Yesterday’s Tomorrows, and interior art from Moonrise (bottom right).
Covers by Chesley Bonestell, David A. Hardy, Warwick Goble, Frederick Siebel, et al

Mike Ashley is a fascinating guy. He interviewed me years ago about founding the SF Site (sfsite.com), one of the first science fiction websites, back in 1995, for his book The Rise of the Cyberzines, the fifth volume of his monumental History of Science Fiction Magazines. He’s edited dozens of SF anthologies over the years, including 19 volumes in The Mammoth Book series (The Mammoth Book of Comic Fantasy, The Mammoth Book of Extreme Science Fiction, The Mammoth Book of New Sherlock Holmes Adventures, etc.)

But I’m currently obsessed with his latest project, a sequence of terrific anthologies published under the banner of the British Library Science Fiction Classics. There are nineteen volumes in the British Library Science Fiction Classics so far, including long-forgotten novels by William F. Temple, Charles Eric Maine, and Muriel Jaeger, and even a new collection of previously-abridged novellas from John Brunner, The Society of Time, which looks pretty darn swell.

But the bulk of the series — eleven books — consists of ten anthologies and a non-fiction title from Mike Ashley. And what books they are! They gather early fiction across a wide range of themes, heavily focused on pulp-era and early 20th Century SF and fantasy. Mining classic tropes like the Moon and Mars, sinister machines, creeping monsters, and looming apocalypses, Ashley has produced a veritable library of foundational SF and fantasy. Reasonably priced in handsome trade paperback and affordable digital editions, these volumes are an essential addition to any modern SF collection. And they are positively packed with fun reading.

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Random Reviews: “Paramount Ulj” by Avram Davidson

Random Reviews: “Paramount Ulj” by Avram Davidson

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Cover by Dember

Because I’ve been asked about the process by which I’ve been selecting stories for the Random Review series, I thought I’d take a moment to explain how the stories are selected.

I have a database of approximately 42,000 short stories that I own sorted by story title. When it comes time for me to select a story to review as part of this series, I role several dice (mostly ten sided) to determine which story should be read. I cross reference the numbers that come up on the die with the database to see what story I’ll be reviewing.  This week, I rolled 26,559 which turned out to be Avram Davidson’s short story “Paramount Ulj.”

One of the things I’m hoping to get out of this series, from a person point of view, is to discover authors and short stories that I’ve owned and have never read. Of course, I’m also hoping to share those discoveries, good or bad, with the readers of Black Gate.

Avram Davidson could be extremely erudite, yet, at the same time, rather silly.  “Paramount Ulj” is a story that tends to fall on the latter side of that spectrum and is completely predictable if you share Davidson’s penchant for wordplay. It is one of his more slight stories, which may explain why its only appearances were its original publication in Galaxy (with translations appearing in the Swedish, French, and Italian versions of the magazine) and in Strange Seas and Shores, one of Davidson’s collections.

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