Nero Wolfe’s Brownstone: No Voting Day

When I began playing Dungeons & Dragons as a teen in the early 1990’s, my initial few games were played in homebrew worlds of the Dungeonmaster’s creation. And, while this has always been a popular part of Dungeons & Dragons, it wasn’t long until I became enamored with the established worlds that were officially sanctioned and supported by setting materials, nor was I the only one. These worlds have been the setting of countless adventures throughout the decades.
For me, the first D&D world I fell in love with was Krynn, the world that is the basis of the Dragonlance storyline. The first trilogy of novels that introduce the world, Chronicles, is a solid adventure, but I could at times almost feel the dice rolling in the background of the combat encounters. The follow-up trilogy, Legends, has a completely different feel, with a much deeper and personal storyline, time travel, complex morality, and an overall that I was surprised to find in novels that were in a tie-in series. I’ve since read some great tie-in literature (see, for example, my reviews of the Pathfinder Tales novels by James L. Sutter, Death’s Heretic and The Redemption Engine), but Legends continues to stand out. And, in terms of adventure, the unusual Dark Sun setting made for some of the most memorable adventures of my teenage years.
These settings were released in AD&D 2nd Edition in the form of setting boxes, with adventures and rulebooks that gave the specific information needed to design characters and campaigns. The current edition of Dungeons & Dragons hasn’t begun releasing similar setting boxes, but they have released supplements spanning a variety of gaming worlds … though not spanning all of their traditional worlds (yet!).
For the second round of the quatro-decadal review, I read and reviewed six periodicals from November 1979, in the following order:
The Magazine of Fantasy and Science Fiction
Galileo Magazine of Science & Fiction
Analog
Isaac Asimov’s Science Fiction
Amazing Stories
Omni
I would put Analog at the top of the list, solid stories — especially Mark McGarry’s “Phoenix,” Clifford D. Simak’s The Visitors installment (a ‘part two’ that stands on its own) and Kevin O’Donnell Jr’s “Old Friends” — interesting science articles and a pleasantly rambling book review section, these more than make up for the uninspiring editorial.
A close second would be Asimov’s, which swings hard with fiction, especially Kevin O’Donnell Jr’s “The Raindrop’s Role,” “Furlough” by Skip Wall, “The Fare” by Sherri Roth, and “Gift of a Useless Man” Alan Dean Foster.
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The Daoshi Chronicles, published in paperback by Talos Press. Covers by Jeff Chapman
I discovered M. H. Boroson’s delightful Daoshi Chronicles when Sarah Avery reviewed the opening novel The Girl With Ghost Eyes here at Black Gate five years ago, saying in part:
We’re connoisseurs of kickass combat scenes, eldritch lore, and victories won at terrible, unpredictable price. We want our heroes unabashedly heroic and morally complicated at the same time. Add a decade or more of research on the author’s part, distilled to the most concentrated and carefully placed drops, and a well-timed sense of humor, and you’ve got the recipe for the perfect Black Gate book…
Li-lin’s family has protected the world of the living from the spirit world for generations. Most Daoist priests and priestesses take it on faith that their rituals work — they can’t literally see the spirit world and the efficacy of their magic. Li-lin can, though. She has yin eyes, ghost eyes, a visionary ability that appalls her father and would disgust her trusting neighbors if they knew…
Devoted daughter, faithful widow, compassionate protector of Chinatown, Li-lin must conceal her rarest talent, lest she shame everyone she loves. Long practice at concealment, combined with the necessity of bending rules and stories if she’s to be effective in a world where even a warrior priestess is expected to show deference to men and elders no matter what, has prepared her almost too well for the mystery she must solve.
Someone wants her father dead. That someone wants it enough to lay trap after trap for her family. Bad magic is on its way, of the kind only the Maoshan can stop.
Li-Lin and her ghost eyes save Chinatown, don’t you doubt it.
The Girl With Ghost Eyes proved popular in broader circles as well. Publishers Weekly called it “A brilliant tale of monsters, magic, and kung fu in the San Francisco Chinatown of 1898,” and The A.V. Club proclaimed it a compelling page-turner, saying it “Introduces a thrilling world of kung fu, sorcery, and spirits… The pace never slows, offering a constant stream of strange characters, dire threats, and heroic actions.”
I had to wait for the paperback of the sequel, but Talos released The Girl With No Face in mass market in September and now I finally have a matching set.
Well, if you’ve been waiting for my epic reread of the Uncanny X-Men to reach one of the most consequential and memorable stories in comic history, your waiting has paid off. It only took 26 blog posts, but we’ve arrived at the beginning of the Dark Phoenix Saga. This arc of the Dark Phoenix Saga, from issue #129 to #131 does some major things.
First, it introduces a mutant who will over the course of the coming decades become a very important X-Man and eventually one of the team leaders: Kitty Pryde. Second, it introduces a mutant who over than same time period will become an iconic X-Men rival and villain, and eventually an ally, teammate and leader herself: Emma Frost. Third, it deepens the corruption of Phoenix’ soul by Jason Wyngarde and Emma Frost.
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Tin Stars (Signet, 1986), volume 5 of Isaac Asimov’s Wonderful Worlds of Science Fiction. Cover by JAV
Isaac Asimov published more than 500 books in his lifetime. Now Asimov was amazingly productive — averaging around 1,700 words published per day over the last two decades of his life — but no one is that prolific. In later years he became a proficient book packager, working with editors like Charles G. Waugh and especially Martin H. Greenberg to churn out dozens and dozens of science fiction anthologies in which he contributed little more than an introduction and perhaps some editorial guidance.
If this sounds dismissive, oh my friends, it is not meant to be. Asimov was interested in a great many things, but one of his earliest and most enduring passions was short fiction. It was his love for early science fiction pulps that set him firmly on the path towards being a successful SF writer by his later teens, and in his later years he became one of the staunchest champions of the science fiction short story — and in particular those stories and authors that, by the 70s and 80s, were in growing danger of being forgotten. Between 1979 and his death in 1992 he put his name (and the considerable selling power behind it) on numerous SF anthologies and long-running anthology series edited with Greenberg and Waugh, including The Great SF Stories (25 volumes, 1979-92), The Mammoth Book series (6 books, 1988-93), Isaac Asimov’s Magical Worlds of Fantasy (12 books, 1983-91), and others. I don’t know if it was ever made explicit, but it seemed pretty clear that Waugh made the selections, Greenberg handled the rights paperwork, and Asimov was sort of a godfather over the whole process. In any case, the success of these books helped inspire other reprint anthologies, and for many decades life was good for classic science fiction lovers.
Those days, of course, are long over, and mass market reprint genre anthologies are scare as hens teeth today. But when times are tough, the tough get creative, and so I’ve been on the hunt for older science fiction anthologies I may have overlooked all those years ago. That’s how I rediscovered Isaac Asimov’s Wonderful Worlds of Science Fiction — and it is a delight.
Like many of his other popular series it was edited with Greenberg and Waugh, and included 10 volumes published between 1983-90. Each had a different theme: Intergalactic Empires, Space Shuttles, Monsters, Invasions, and so forth. They were generously sized (300-400 pages) and came packed with wonderful stories selected by an editor with a keen eye. These books have never been reprinted, but they’re not hard to find. In fact I recently bought a set of five in nearly brand new condition for significantly less than original cover price.
Jo Kaplan is a fast-rising writer who’s worth keeping an eye on. Under the name Joanna Parypinski she’s published stories in Black Static, Nightmare Magazine, and Vastarien, and in prestigious anthologies like Haunted Nights and Miscreations.
Her debut novel It Will Just Be Us appeared in September to wide praise. Publishers Weekly called it “A rich, dense supernatural thriller,” Manhattan Book Review hailed it as “A fantastic ghost story,” and Bram Stoker Award-winner John Palisano proclaimed it “A chilling, poetic, modern Gothic masterpiece.”
When nights are long and the wind blows chill through the snow drifts in my back yard, that’s when I long to burrow into blankets with a chilling book. This looks like it will do the trick nicely. Here’s the publisher’s description.
A terrifying new gothic horror novel about two sisters and a haunted house that never sleeps, perfect for fans of Shirley Jackson’s We Have Always Lived in the Castle.
They say there’s a door in Wakefield that never opens… Sam Wakefield’s ancestral home, a decaying mansion built on the edge of a swamp, isn’t a place for children. Its labyrinthine halls, built by her mad ancestors, are filled with echoes of the past: ghosts and memories knotted together as one. In the presence of phantoms, it’s all Sam can do to disentangle past from present in her daily life. But when her pregnant sister Elizabeth moves in after a fight with her husband, something in the house shifts. Already navigating her tumultuous relationship with Elizabeth, Sam is even more unsettled by the appearance of a new ghost: a faceless boy who commits disturbing acts — threatening animals, terrorizing other children, and following Sam into the depths of the house wielding a knife. When it becomes clear the boy is connected to a locked, forgotten room, one which is never entered, Sam realizes this ghost is not like the others. This boy brings doom… As Elizabeth’s due date approaches, Sam must unravel the mysteries of Wakefield before her sister brings new life into a house marked by death. But as the faceless boy grows stronger, Sam will learn that some doors should stay closed — and some secrets are safer locked away forever.
It Will Just Be Us was published by Crooked Lane Books on September 8, 2020. It is 272 pages, priced at $26.99 in hardcover and just $1.99 in digital formats. Get all the details at Jo Kaplan’s website here.
See all our recent coverage of the best new SF and fantasy releases here.
When Molly Grue yells at the unicorn, it expresses a little how I felt on reading Peter Beagle’s The Last Unicorn (1968) this past month for the very first time:
But Molly pushed him aside and went up to the unicorn, scolding her as though she were a strayed milk cow. “Where have you been?” Before the whiteness and the shining horn, Molly shrank to a shrilling beetle, but this time it was the unicorn’s old dark eyes that looked down.
“I am here now,” she said at last.
Molly laughed with her lips flat. “And what good is it to me that you’re here now? Where were you twenty years ago, ten years ago? How dare you, how dare you come to me now, when I am this?” With a flap of her hand she summed herself up: barren face, desert eyes, and yellowing heart. “I wish you had never come, why do you come now?” The tears began to slide down the sides of her nose.
Of course, what Molly learns is that she needn’t have waited for wonder and transcendence to find her, but should instead have sought them. Taking her lesson to heart for myself, I felt betrayed and angry for only a moment before yielding to chagrin that I hadn’t sooner sought this perfectly-cut gem of a story. The book sat on a shelf for twenty years, gathering dust and losing to the sun the richness of color of its wonderful Gervasio Gallardo artwork.
If The Last Unicorn was a lesser book, I could offhandedly describe it as an illustration of the universal need to undertake a quest, to find wonder — whether from beauty or love or something more ineffable. But Beagle has given us so much more. He’s tucked treasures inside prose that echoes with the sounds of hidden woodland glens and that is painted in the colors of lost and recovered dreams; he’s elucidated the value that can be gleaned from loss, sacrifice, regret. And further, he’s told a story about stories, and how they don’t reflect reality, except when they do. He’s played with the various elements of fantasy — the quest, the wizard, the princess, etc. — in a way that loves them as much as it punctures them.
Nnedi Okorafor has won every major award our small field has to offer. She won a Hugo and Nebula Award for her Tor.com novella Binti, a World Fantasy Award for Who Fears Death, a Locus Award for Akata Warrior, an Eisner Award and another Hugo Award for the comic LaGuardia — and a great many more, including a Black Excellence Award, Kindred Award, Lodestar Award, and awards I’ve never even heard of. I hear that when she steps outside to pick her up dry cleaning, strangers throw awards at her.
Her latest is another intriguing Tor.com novella, Remote Control, the tale of an alien artifact that turns a young girl into Death’s adopted daughter. Publishers Weekly calls it “electrifying,” and Library Journal praises its “stunning landscape of futuristic technology and African culture.” Here’s the description.
She’s the adopted daughter of the Angel of Death. Beware of her. Mind her. Death guards her like one of its own.
The day Fatima forgot her name, Death paid a visit. From hereon in she would be known as Sankofa ― a name that meant nothing to anyone but her, the only tie to her family and her past.
Her touch is death, and with a glance a town can fall. And she walks ― alone, except for her fox companion ― searching for the object that came from the sky and gave itself to her when the meteors fell and when she was yet unchanged; searching for answers.
But is there a greater purpose for Sankofa, now that Death is her constant companion?
Remote Control will be published by Tor.com on January 19, 2021. It is 160 pages, priced at $19.99 in hardcover and $10.99 in digital formats. Read Chapter 1 at i09.
See all of our coverage of the best upcoming SF and fantasy here.
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Pages from In Part Scal’d: The 1963 Fan Poll Results, published by Dick Eney
Back in the 1960’s, the publishing world experienced a Burroughs boom. Following Edgar Rice Burroughs’ death in 1950, the next decade saw his works fading from public view, with most out of print. That all changed in 1962, when several publishers realized that many of Burroughs earlier works were now public domain. Donald Wollheim of Ace perhaps took the greatest advantage of this, swiftly flooding the market with paperback reprints of Burroughs books, sporting great covers by Roy Krenkel and Frank Frazetta. This caused ERB, Inc. to look into their properties, and they soon inked deals with various publishers to bring out authorized editions of Burroughs’ works, including Ballantine for the Tarzan and Mars series and Ace for the Venus and Pellucidar series.
According to Life magazine, in 1962 the Tarzan novels being reprinted in paperback were runaway best-sellers. That year, Burroughs books sold more than 10 million copies – roughly 1/30th of the total of all paperback sales for the year.
In going through some vintage fanzines and other fan publications a few months ago, I came across a copy of In Part Scal’d: The 1963 Fan Poll Results published by Dick Eney. Inside was a two page article by Dick Lupoff, who recently passed away. Among his other achievements, Lupoff was a significant figure in Edgar Rice Burroughs’ publishing (including through his editorial work at Canaveral Press, which brought many ERB works out in hardcover) and scholarship.