Nero Wolfe’s Brownstone: 2020 Stay at Home – Days 24 and 25

Nero Wolfe’s Brownstone: 2020 Stay at Home – Days 24 and 25

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So, last year, as the Pandemic settled in like an unwanted relative who just came for a week and is still tying up the bathroom, I did a series of posts for the FB Page of the Nero Wolfe fan club, The Wolfe Pack. I speculated on what Stay at Home would be like for Archie, living in the Brownstone with Nero Wolfe, Fritz Brenner, and Theodore Hortsmann. I have already re-posted days one through twenty-one. Here are days twenty-four (April 14) and twenty-five (April 15). It helps if you read the series in order, so I’ve included links to the earlier entries.

DAY TWENTY FOUR – 2020 Stay at Home

The doorbell rang. I’ve certainly typed that many times in my accounts of Nero Wolfe’s cases. But it was something that wasn’t happening much lately. Other than food deliveries for Fritz, visitors were few and far between. Wolfe didn’t even bother acknowledging it, knowing it wouldn’t be a potential, and certainly uninvited client. I moved out into the hall and heard Fritz in the kitchen, still cleaning up from lunch.

Looking through the one-way glass, I was surprised to see the not-quite-as familiar lately profile of the head of Homicide West, Inspector Cramer. He was calling something out to his driver and turned when he heard me open the door two inches, the chain still on.

“I’m sorry, sir. Wolfe & Goodwin Investigations is temporarily closed. Our esteemed governor does not feel that private detectives provide an essential service in these troubled times. May I suggest you visit your local precinct station? Of course, it is a step down in quality of service, but those dedicated public servants are open 24/7.”

“You’ll clown at your own funeral, Goodwin. The only good thing about this lockdown is I haven’t had to listen to you for three weeks. Open up. I want to talk to Wolfe.”

“Now hold on. We’ve kept this place virus free. Who knows where you’ve been? Let me see if I can let you in.”

“Cut the crap-” I’m sure the next word was ‘Goodwin,’ but it was muffled by the door, which I had closed on him.

I stopped at the doorway to the office. “It’s the man about the chair.” That was my favorite code name for the inspector.

He looked up from his book. “What?”

“Yes sir. It seems that the New York police force cannot function without your assistance. Since we’re not on a case, he can’t be coming here to yell at us, a pastime which he greatly enjoys, as you well know. I’d guess he’s really stuck on something, and wants you to bail him out.”

“That man can still be a nuisance.”

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The Art of Things to Come, Part 2: 1958-1960

The Art of Things to Come, Part 2: 1958-1960

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The Fantastic Universe Omnibus, featured in the
September-October 1960 issue of Things to Come. Art by Virgil Finlay

As I mentioned in Part One of this series, like tens of thousands of science fiction fans before and after me, I was at one time a member of the Science Fiction Book Club (or SFBC for short). I joined just as I entered my teen years, in the fall of 1976.

The bulletin of the SFBC, Things to Come, which announced the featured selections available and alternates, sometimes just reproduced the dust jacket art for the books in question. However, in many cases the art was created solely for the bulletin, and was not used in the book or anywhere else. Nearly all of the art for the first 20 years of Things to Come is exclusive to that bulletin, and as a result hasn’t been seen by many SF fans. In this series, I’ll reproduce some of that art, chosen by virtue of the art, the story that it illustrates or the author of the story. The first installment featured art from 1957 and earlier, while this installment covers 1958-1960, presented chronologically.

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New Treasures: The Best of R. A. Lafferty, edited by Jonathan Strahan

New Treasures: The Best of R. A. Lafferty, edited by Jonathan Strahan

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Two years ago, when The Best of R.A. Lafferty was published by Gollancz SF Masterworks, I wrote an excited New Treasures article that began like this:

Fabulous! Lafferty is one of my favorite short story writers, and far too much of his work — virtually all of it, really — is either long out of print, or available only in very expensive collector’s editions from Centipede Press. The prospect of a generous collection of his best short fiction in a compact and affordable trade paperback edition… seemed too good to be true.

It almost was. The Gollancz edition was very hard to acquire in the US (and it still is). Fortunately Tor Books saw fit to reprint the book as part of their own Tor Essentials line earlier this month, and it’s now widely available in a handsome and affordable trade paperback edition. Here’s the publisher’s description.

Tor Essentials presents science fiction and fantasy titles of proven merit and lasting value, each volume introduced by an appropriate literary figure.

Acclaimed as one of the most original voices in modern literature, a winner of the World Fantasy Award for lifetime achievement, Raphael Aloysius Lafferty (1914-2002) was an American original, a teller of acute, indescribably loopy tall tales whose work has been compared to that of Avram Davidson, Flannery O’Connor, Flann O’Brien, and Gene Wolfe.

The Best of R. A. Lafferty presents 22 of his best flights of offbeat imagination, ranging from classics like “Nine Hundred Grandmothers” and “The Primary Education of the Cameroi” to his Hugo Award-winning “Eurema’s Dam.”

Introduced by Neil Gaiman, the volume also contains story introductions and afterwords by, among many others, Michael Dirda, Samuel R. Delany, John Scalzi, Connie Willis, Jeff VanderMeer, Kelly Robson, Harlan Ellison, Michael Swanwick, Robert Silverberg, Neil Gaiman, and Patton Oswalt.

This is a joyous, wonderful, and wholly surprising book that belongs in the collection of every serious science fiction reader. Here the complete Table of Contents.

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L. Frank Baum’s Oz Series #3: Ozma of Oz

L. Frank Baum’s Oz Series #3: Ozma of Oz

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I’ve been doing more reading with my 10-year old niece and book 3 of L. Frank Baum’s Oz series was a real treat. While I’d seen the Wizard of Oz of course, Ozma of Oz was the first book I’d read and luckily it can be read entirely fine with nothing more than the 1939 movie as an introduction. This book was also my introduction to the otherworldly art of John R. Neill.

Ozma of Oz was published in 1907, and as I’ve noted in my previous posts, L. Frank Baum’s series is really the first major American fantasy world. The story begins with Dorothy travelling with Uncle Henry on a steamer to Australia. A storm picks up and Dorothy is washed overboard.

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Vintage Treasures: Nebula Award Stories 17 edited by Joe Haldeman

Vintage Treasures: Nebula Award Stories 17 edited by Joe Haldeman

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Nebula Award Stories 17 (Ace Books, 1985). Cover by Jeffrey Ridge

I’ve covered a few noteworthy anthologies here in the last few weeks, including Isaac Asimov’s surprising Tin Stars, and Donald A. Wollheim’s excellent 1989 Annual World’s Best SF. It’s sharpened my appetite for good anthologies, and when I found Nebula Award Stories 17 in a small collection of vintage paperbacks I bought in eBay last month, I knew I’d found my next weekend read.

The Nebula Awards anthologies have been published continuously for over five decades, ever since Damon Knight launched the series in 1966 to raise money to fund the Nebula Awards for the Science Fiction Writers of America. Volume 17 was the first (and only) one to be edited by Joe Haldeman, who by then had won a Nebula for his groundbreaking novel The Forever War (1975), and would win it again for the novella “The Hemingway Hoax” (1990), the short story “Graves” (1993), and the novels Forever Peace (1998) and Camouflage (2004).

Nebula Award Story 17 appeared in hardcover in 1983, but wasn’t published in paperback by Ace until 1985. It contains stories still remembered warmly today, including William Gibson’s “Johnny Mnemonic,” made into a Keanu Reeves film in 1995, Poul Anderson’s Hugo and Nebula-award willing novella “The Saturn Game,” Michael Bishop’s Hugo and Nebula nominee “The Quickening,” an excerpt from Gene Wolfe’s classic novel The Claw of the Conciliator, and a lot more. There are two stories from Terry Carr’s Universe 11, two each from Omni and F&SF, and the rest from magazines and anthologies like Asimov’s SF, Analog, and More Wandering Stars. Here’s the complete TOC, and a look at some of the magazines the stories originally appeared in.

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Ghost Lovers with Educated Minds: Ghosts of the Chit-Chat, edited by Robert Lloyd Parry

Ghost Lovers with Educated Minds: Ghosts of the Chit-Chat, edited by Robert Lloyd Parry

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Ghosts of the Chit-Chat (Swan River Press, December 2020).
Cover by John Coulthart

Ghosts of the Chit-Chat
Edited by Robert Lloyd Parry
Swan River Press (255 pages, December 2020)
Cover by John Coulthart

There are books and BOOKS. And this one is of the latter. Not simply an anthology of supernatural  and ghost stories, but also the faithful, fascinating description of a Society (or Club) flourishing at Cambridge University, the Chit-Chat, members of which included famous authors of dark fiction such as Montague Rhodes James, the three Benson brothers and others.

The volume includes profiles of the more distinguished members, their activity at Cambridge and their consequent literary achievements. For each of these writers,  examples of their fictional output are featured. 

MR James’ work is represented here by the two “ghost” stories he read at the Chit-Chat meeting on October 28, 1893 ( “The Scrap-book of Canon Alberic” and “Lost Hearts”) in slightly different versions from those included in his subsequent collections. The stories are too well known to require any specific comment in the present review.

EF Benson’s contribution is “ The Other Bed,” a classic ghostly tale conveying a strong sense of dread, set in a hotel room where a suicide had taken place.

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Eternity vs. Infinity: Isaac Asimov’s The End of Eternity

Eternity vs. Infinity: Isaac Asimov’s The End of Eternity

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The End of Eternity by Isaac Asimov; First Edition: Doubleday, 1955.
Cover art Mel Hunter.

The End of Eternity
by Isaac Asimov
Doubleday (191 pages, $1.95, Hardcover, August 1955)
Cover art Mel Hunter

Just as Arthur C. Clarke’s The Deep Range, which I reviewed here last time, was one of the latter novels of Clarke’s early period (which I defined as everything from his first novel Prelude to Space in 1951 to 2001 in 1968), so is The End of Eternity one of the latter novels of Isaac Asimov’s early period (which I’ll define as everything from his first books I, Robot and Pebble in the Sky in 1950 through the 1960s, before Asimov “returned” to writing science fiction with the first of his later novels, The Gods Themselves, in 1972). (We can see that Asimov’s and Clarke’s early and later periods were virtually contemporaneous, since Clarke also “returned” to SF with Rendezvous with Rama in 1973.)

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Future Treasures: Transgressions of Power, Book 2 of The Broken Trust by Juliette Wade

Future Treasures: Transgressions of Power, Book 2 of The Broken Trust by Juliette Wade

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Mazes of Power and Transgressions of Power (DAW, 2020/21) Covers by Adam Auerbach

I admit I got a little excited by the release of Mazes of Power last year, mostly because it’s set in a thousand year-old cave city (and if I have to explain why that’s so cool, we can’t be friends). But the series has become even more interesting with the impending release of the sequel, Transgressions of Power, arriving in hardcover in two weeks. Here’s an excerpt from the starred review at Publisher’s Weekly for the opening volume.

Wade’s excellent high fantasy debut, the first in the Broken Trust series, invites readers into an intricately constructed and morally ambiguous world full of complex political maneuvering and familial pressure. For centuries, the cavernous city of Pelismara has housed the 12 Great Families that comprise the noble class of the city’s strict caste system, who cling to the glory of a long-faded golden era. When a mysterious illness known as Kinders fever kills the city’s Eminence, the 12 families vie to fill the power vacuum. It’s up to 17-year-old Tagaret to represent his family in the competition to become heir to the throne, but his sociopathic brother Nekantor’s twisted attempts to help their family ascend to power threaten to tear down everything… The impressively winding plot, layered worldbuilding, and psychologically acute characterizations are sure to hold readers’ attention. Wade is an author to watch.

The sequel picks up the tale of the deadly battle for succession, in which brother is pitted against brother in a desperate bid for power. Transgressions of Power will be published by DAW Books on February 23, 2021. It is 480 pages, priced at $27 in hardcover, $14.99 in digital formats, and $29.99 for the audio version. Read the first seven pages of the first book here.

See all our coverage of the best upcoming science fiction and fantasy here.

Ellsworth’s Cinema of Swords: Gallic Gallantry

Ellsworth’s Cinema of Swords: Gallic Gallantry

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Le Capitan (1960)

As you might expect from the country that gave us Cyrano and d’Artagnan, the French film industry has always been enthusiastic about making swashbucklers. A lot of them have no available English-language versions, alas, but here are three of the best that do. I think you’ll agree they all have a certain je ne sais quoi.

The Captain (or Le Capitan)

Rating: ****
Origin: France/Italy, 1960
Director: André Hunebelle
Source: Pathé DVD

This French film may be the best swashbuckler you’ve never seen. It’s set in France a dozen years before the events of The Three Musketeers, when King Louis XIII was only 15 years old and still ruled by his mother, Marie de Médicis, and her lover, the Italian adventurer Concino Concini, whom Marie has elevated to the rank of prime minister. Concini’s hired thugs are killing nobles who oppose him and looting their estates, and the movie opens with a mêlée in which Concini’s assassins, led by their boss, Rinaldo, are raiding a count’s château. The count’s friend, the Chevalier de Capestang (Jean Marais), gallops up and leaps into the fray, turning the tide, but not before Rinaldo knifes the count in the back. As the thugs retreat Capestang is wounded by another thrown knife and is about to slain by the last assassin when the killer is shot down by a mysterious lady (Elsa Martinelli) in a male cavalier outfit.

The mystery woman nurses Capestang back to health but then disappears. Was she just a vision of delirium? Once healed, Capestang agrees to represent the grievances of the local nobles and travel to Paris to appeal to Concini — and maybe even the young king. Concini (Arnoldo Foà) tries to co-opt the capable Capestang, but he haughtily refuses, and Concini, in Italian, dubs him “Il Capitano” after the stock commedia dell’arte character of the strutting braggart. Capestang accepts the moniker as a badge of honor.

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A Wonderful Picture of a Far-flung Community of Writers: Quark, edited by Samuel R. Delany and Marilyn Hacker

A Wonderful Picture of a Far-flung Community of Writers: Quark, edited by Samuel R. Delany and Marilyn Hacker

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The 4-volume Quark anthology series, edited by Samuel R. Delany and Marilyn Hacker
(Paperback Library, 1970-71). Covers by Russell FitzGerald, Ira Cohen, Roger Penney, and Martin Last

These four volumes of Quark came out in 1970-71. The publisher killed the Quark enterprise after a year mainly because they weren’t selling, but also because of a really ill-thought-out review that Ed Bryant, who had a story in the first issue, wrote about the journal, in which he praised Marilyn and me, but went on and on about what a schlock publisher Paperback Library was.

Ed eventually submitted a novel to Paperback Library, and I happened to be in the office just after it came in. Cathy, our editor showed me his cover letter and read me her rejection note. His letter began, “You probably never heard of me, but I am an SF writer and…” Her answer back started off:

Dear Mr. Bryant,

You sell yourself short. I’m very much aware of who you are. What I don’t understand is why you hope to be published by a publisher you consider…”

and a), b), c) and d) she quoted back to him all the scurrilous things he had written about Paperback Library in his review. I felt sorry for Ed. He’d been my student at Clarion a few years before. But Ed’s was the review that made the publisher, Hy Steerman, decide that he couldn’t win for losing, and scuttled the paperback journal after the fourth issue.

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