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Forty Years of Horror: After Dark: The Best Horror Fiction of Tony Richards

Forty Years of Horror: After Dark: The Best Horror Fiction of Tony Richards

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After Dark: The Best Horror Fiction of Tony Richards (Weird House Press, November 17, 2021). Cover by K.L. Turner

Tony Richards is a British horror writer, author of eight collections of short stories and several novels of dark fiction. Although for some reason he may be unfairly less celebrated than some of his countrymen, he’s certainly one of the very best producing horror fiction today.

Praise to small American imprint Weird House Press for assembling twenty-five tales and a novella covering forty years of Richards’ career in After Dark: The Best Horror Fiction of Tony Richards, released in paperback and digital formats this past November.

Although I’m familiar with some of Richards’ previous (and excellent) collections, regretfully I had missed a few, and this one offered me the chance to savor some of his stories for the very first time.

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Random Reviews: “Children of a Greater God” by Julian Flood

Random Reviews: “Children of a Greater God” by Julian Flood

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Interzone, October 1992, Cover by Tony Roberts
Interzone, October 1992, Cover by Tony Roberts

One of the issues with selecting stories to read using a completely random method is that some of the stories won’t be of particular interest, won’t completely succeed (or in some cases fail entirely), or not be particularly noteworthy. Eight weeks into this series, I have come across a story that I didn’t entirely bounce off of, but which didn’t really work for me. It has some interesting ideas behind it and I think it is clear that the author knew what he had in mind. I just don’t think he was particularly successful in translating it to the page.

Julian Flood published ten short stories, with nine of them appearing between 1992 and 1997 and three of those appearing in the first year. Half of his fictional output appeared in the pages of Interzone. The August 1992 issue of that magazine (whole number 62) contained his third story, “Children of a Greater God.”

The action is set on the planet Dub’s World, which is not conducive to human existence. The atmosphere of the planet is such that people need to have their bodies rebuilt each evening, although Flood isn’t entirely clear on the various mechanisms that cause this to happen aside from some hand waving about the atmospheric composition of the planet and people connecting to robots for the rebuilding.

Flood’s narrator is either an alternative comedian or a private eye (or some combination of both), although there is nothing humorous about his act, which includes self-mutilation and violence. Flood does have his character discuss comedy with the nightclub owner, noting that “Funny’s not what alternative comedy’s about,” although he doesn’t offer what he, or his character, thinks it is about.

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A Poisoned Bouquet: Fancies and Goodnights by John Collier

A Poisoned Bouquet: Fancies and Goodnights by John Collier

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Fancies and Goodnights (Bantam Giant, 1953). Cover by Charles Binger

Fantasy, this genre that we love so much, is in reality not one genre but many; that’s one reason we love it. Any form that can accommodate the cynicism of Glen Cook and the lyricism of Patricia McKillip, that can hold the clarity of Robert E. Howard and the ambiguity of John Crowley, that can contain the brutality of George R.R. Martin and the hilarity of Terry Pratchett… well, there’s nothing it can’t do. Fantasy contains multitudes.

There’s a problem with being a member of a multitude, however — it’s easy to get lost, easy to be pushed to the back of the line by the ever-swelling mob of new books, new writers, new modes, easy to be misplaced or forgotten. It’s happened to many worthwhile writers. It’s happened to John Collier.

John Henry Noyes Collier, who died in 1980 at the age of seventy-eight, specialized in “slick” fantasy stories, “slick” because they generally appeared in “slick-paper magazines” as opposed to the cheap-paper pulps, upscale publications like The New Yorker, The Atlantic Monthly, or Esquire. Characterized by modern, urban settings, a sophisticated, often satirical tone, and the irony-laced employment of traditional figures such as witches, genies, angels, devils, magicians, and ghosts, slick fantasy flourished during the twenties, thirties, and forties, and manifested itself in many different media. The humorous supernatural novels of Thorne Smith such as Topper (1926) and The Night Life of the Gods (1931), plays like Noel Coward’s breezy mix of marriage farce and spiritualism, Blithe Spirit (1941), and films like René Clair’s screwball comedy, I Married a Witch (1942, and itself the progenitor of one of the most popular television series of the 60’s, Bewitched), are all examples of this effervescent mode. John Collier may have been its greatest prose practitioner. …

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Take Me Home! A Princess of Mars by Edgar Rice Burroughs

Take Me Home! A Princess of Mars by Edgar Rice Burroughs

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I opened my eyes upon a strange and weird landscape. I knew that I was on Mars; not once did I question either my sanity or my wakefulness. I was not asleep, no need for pinching here; my inner consciousness told me as plainly that I was upon Mars as your conscious mind tells you that you are upon Earth. You do not question the fact; neither did I.

So reacts John Carter, ex-cavalryman of the Army of Northern Virginia, when he transmigrates to the red planet in A Princess of Mars (1917). Chased by torture-minded Apaches, Carter secrets himself in a cave. By unknown means, he finds his spirit severed from his body and transported to Mars.

On Mars, a dying, barren world littered with the ruins of millennia-gone civilizations, he finds his great love and becomes the greatest hero that Barsoom, as its inhabitants call Mars, has ever known. Along that path to glory, thousands of miles are traveled and thousands of foes slain. A Princess of Mars is pure escapist fantasy, where the protagonist, standing in for the increasingly civilized American man Burroughs was writing for, fights and defeats all foes, outwits every enemy, and wins the hand of the most beautiful woman in the world. To some, that might sound juvenile, but they are wrong. A Princess of Mars is absolutely deserving of the mind-blowingly pulpy cover illustrations of Frank Frazetta.

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Random Reviews: “BAXBR/DAXBR” by Evelyn E. Smith

Random Reviews: “BAXBR/DAXBR” by Evelyn E. Smith

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Time to Come, Edited by August Derleth
Time to Come, Edited by August Derleth, Cover artist unknown

Evelyn E. Smith was born in 1922 and in addition to her career as a science fiction author, which spanned from approximately 1952 until 1985, she also wrote romance novels using the name Delphine C. Lyons and also worked as a crossword puzzle writer. This latter job is very much evidenced in her 1954 story “BAXBR/DAXBR” (also “DAXBR/BAXBR,” its title should appear as two words that cross at the X).

The basic gist of the story is that George, Smith’s main character, often finds himself commuting in proximity to a man he doesn’t know, but things of as “the little man from the Planetarium,” since that is where their pathways often converge.  On rare occasions they greet each other and the man has a strange accent that George can’t place, but that is generally the extent of their interaction.

On the day the story takes place, fate and a crowded subway car throw the two men together. While the little man reads some letters, George tries to ignore him, playing mental games with words in which he ideates a crossword puzzle based on the words he sees. During this time, his eyes happen to fall on one of the man’s letters and he sees a word he is unfamiliar with, “BAXBR.” Rather than assume the word was gibberish, a private joke, or something in code, George obsesses over it.

As it happens, both men find their way to the main branch of the New York Public Library, where their paths diverge. George finds himself searching for the word in the dictionary and, when he can’t find it there, tries to find it in dictionaries for several foreign languages, trying to get a clue for the word’s origin from the man’s incomprehensible accent. Even the reference librarian who tried to help George was unable to find the word.

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Random Reviews: “Final Report” by Richard Grey Sipes

Random Reviews: “Final Report” by Richard Grey Sipes

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Analog, January 1965, Cover by John Schoenherr
Analog, January 1965, Cover by John Schoenherr

Throughout 2022, I’ll be reviewing short stories. Some of these may be classics, others forgotten. The two things that all will have in common is that they are part of my personal collection and they will be selected through a randomization process.  What works and authors I look at will be entirely selected by a roll of the dice.

“Final Report” by Richard Grey Sipes appeared in the January 1965 edition of Analog Science Fiction – Science Fact, an issues more noted for including the first part of Frank Herbert’s serial The Prophet of Dune, which would eventually be published as the second part of the novel Dune. The issue also included stories by Christopher Anvil, Harry Harrison, John T. Phillifent, and James H. Schmitz.

Sipes was born in Altoona, Pennsylvania and in 1928 and died in Missouri on June 12, 1989. He worked as aan Assistant Professor of Anthropology at Long Island University and was a cross-cultural correlation methodologist who wrote several papers on the topic, including “War Sports and Aggression: An Empirical Test of Two Rival Theories” and “War, Combative Sports, and Aggression: a Preliminary Causal Model of Cultural Patterning.”

“Final Report” really doesn’t qualify as a short story. There are no characters and it has no plot. Instead, the piece is a written as an army evaluation of new communications equipment. Sipes’ language and format follow a very proscribed and technical manner and he commits fully to the piece. Unfortunately, this has the effect of making the essay dry. The reader keeps expecting Sipes to deviate and throw in something humorous or off kilter as the testing of the equipment enters the science fictional realm, however the entire article is written almost straight faced.

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Set in Stone: N.K. Jemisin’s The Fifth Season

Set in Stone: N.K. Jemisin’s The Fifth Season

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The Fifth Season (Orbit, 2015). Cover by Lauren Panepinto

So, there I was, strolling through the endless corridors of Black Gate’s Indiana compound, when I chanced upon a book shelf I hadn’t noticed before. Over it hung a sign, carved in blasted stone, reading, The Fifth Season. I picked up the lone book on the shelf, toted it home, and read, with increasing awe, one of the finest science fiction novels of my adult life.

Strike that. The Fifth Season is one of the finest novels I have read, period.

Maybe that’s why it won the 2016 Hugo Award.

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Random Reviews: “Nobody Named Gallix” by Lou Fisher

Random Reviews: “Nobody Named Gallix” by Lou Fisher

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F&SF, 1/75, Cover by Mazey and Schell
F&SF, 1/75, Cover by Mazey and Schell

Throughout 2022, I’ll be reviewing short stories. Some of these may be classics, others forgotten. The two things that all will have in common is that they are part of my personal collection and they will be selected through a randomization process.  What works and authors I look at will be entirely selected by a roll of the dice.

Lou Fisher published his first story in 1958 and then took a fifteen year break before his second story appeared.  He published in spurts from 1973 through 1992, with four stories appearing between 1973 and 1975, three stories in the eighties, and two more in the 90s. After 1992, he took a break of 19 years before his most recent story appeared.  In addition to those eleven short stories, he also published two novels, SunStop 8 and The Blue Ice Pilot.

Fisher’s fourth short story, “Nobody Named Gallix” appeared in the January 1975 issue of The Magazine of Fantasy and Science Fiction. It would be reprinted a year later in a German translation, but has never been reprinted in English.

The story follows a human who is emphatically not named Gallix, but since he is never given a name, that is how he’ll be referred to here. Gallix is a prisoner in a war between human forces and some form of alien army. Since His minders appear to be differently shaped creatures, it is possible that their army is made up of a variety of aliens, but it is never made clear. Instead, Gallix focuses his story on his current minder, and orangish-yellow triangle who seems more amendable to talk to him than most.

Gallix has been given a task, although it seems ridiculous on the surface.  He must watch a bubble in a tube and if it rises too high or drops too low he must make an adjustment with a lever. He doesn’t know why he must do this and none of his minders feel the need to give him an explanation, except that if he lets the bubble get too high or too low he’ll receive a shock.

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Were-Antelopes, Haunted Cabins, and the Horror of Retail: The Year’s Best Horror Stories: Series VII (1979), edited by Gerald W. Page

Were-Antelopes, Haunted Cabins, and the Horror of Retail: The Year’s Best Horror Stories: Series VII (1979), edited by Gerald W. Page

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The Year’s Best Horror Stories: Series VII (DAW, July 1979). Cover by Michael Whelan

The Year’s Best Horror Stories: Series VII was the seventh volume in DAW’s Year’s Best Horror Stories, published in 1979. This was the fourth and final installment edited by horror author and editor Gerald W. Page (1939–). Given the strength of his anthologies, I doubt that Page was let go; but I don’t know why this was his last. Perhaps he returned to his own writing.

Michael Whelan’s (1950–) artwork appears for a fifth time in a row on the cover. His subject matter was quite eclectic for DAW, including this depiction of a grisly ghoul attack, one presumably interrupted by you or I the reader. It is a pretty terrifying and mesmerizing cover. I wonder if there’s not some humor mixed in as well. The foremost tombstone bears the name Carter. Is this a jibe at writer and editor-extraordinaire Lin Carter, editor of the competing Year’s Best Fantasy volumes? Or a political comment towards President Jimmy Carter?

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A Cosmic Beginning: Out of the Silent Planet by CS Lewis

A Cosmic Beginning: Out of the Silent Planet by CS Lewis

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CS Lewis’ 1938 novel, Out of the Silent Planet, tells the story of man shanghaied and taken aboard a spaceship to Mars and the deep things he discovers there. In a letter from 1965, JRR Tolkien described how he and Lewis had set themselves the task of writing parallel stories  — Tolkien’s a time-journey and Lewis’ a space-journey — where each tale’s protagonist would discover Myth. By that, Tolkien meant that while each story was to be a solid “thriller,” the stories would also contain “a great number of philosophical and mythical implications that enormously enhanced without detracting from the ‘surface adventure’.”

Elwin Ransom, a philologist (one of several points of similarity with Tolkien), is vacationing by taking a solitary walking tour when he is drugged and kidnapped by Dick Devine and Edward Weston, one, an old and disliked schoolmate, the other, a brilliant scientist.

“You don’t know Weston, perhaps? Devine indicated his massive and loud-voiced companion. “The Weston,” he added. “You know. The great physicist. Has Einstein on toast and drinks a pint of Schrodinger’s blood for breakfast.”

Weston has built a spaceship that has already traveled to another planet and back. On that world, Weston and Devine have discovered great lodes of gold and other precious metals. Now, with Ransom along, they are speeding back through space for more loot. During the month-long trip, Ransom learns that the planet is inhabited and its natives call it Malacandra. At first excited about the voyage despite his forced embarkation, Ransom’s anticipation turns to horror when he learns that he is to serve as sacrifice to monstrous native creatures called sorns.

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