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Birthday Reviews: R.A. Lafferty’s “Sodom and Gomorrah, Texas”

Birthday Reviews: R.A. Lafferty’s “Sodom and Gomorrah, Texas”

Cover by Sol Dember
Cover by Sol Dember

R.A. (Raphael Aloysius) Lafferty was born on November 7, 1914 and died on March 18, 2002.

Lafferty won a Hugo Award for his short story “Eurema’s Dam” in 1973, which tied with Frederik Pohl and C.M. Kornbluth’s “The Meeting.” Lafferty’s story also won the Seiun Award in 1975 and he won a second Seiun in 1993 for the story “Groaning Hinges.” In 1971 Lafferty received a Phoenix Award from DeepSouthCon and in 1990 he was recognized with a Life Achievement World Fantasy Award. He was the second recipient of the Cordwainder Smith Award for authors whose work deserves rediscovery.

“Sodom and Gomorroah, Texas” was first published in the December 1962 issue of Galaxy Magazine, edited by Frederik Pohl. It was translated by Ferruccio Alessandri for the Italian version of the magazine in 1964. Lafferty included it in his 1972 collection Strange Doings. A. Kindt-van Ewijck and G. Suurmeijer translated the story for the Dutch version of Strange Doings, called Niet Pluis in 1975 and the same year it was translated for the French edition of Galaxie. The story saw a German translation in 1982 in the anthology Science-Fiction-Stories 92. The story was posted to Project Gutenberg in 2007 and was included in the LibriVox anthology Short Science Fiction Collection Vol. 004. In 2011, it was published as a chapbook. Its most recent publication occurred in 2015 when it was included in Feast of Laughter, Volume 2, an anthology edited by Kevin Cheek as an appreciation of R. A. Lafferty on the occasion of the centennial of his birth.

“Sodom and Gomorrah, Texas” is actually a story about expectations and the understanding of reality. Manuel has been hired to work a s a census taker in the Santa Magdalena region of Texas by Mr. Marshal. When Manuel asks if he should count the little people, Marshall instructs him to count all people, not just adults, although Marshal also has to specify not to count animals or spirits. While Marshal and Manuel see no difficulty with the instructions, the reader sees them readily, only wondering what form Lafferty will chose to show the hijinks sure to take place.

The little people living in the remote Texas region where Manuel is sent to count the nine human inhabitants are aliens who firmly believe they have a deed to the Earth. They allow Manuel and his mula, Mula, to count them, but at great cost. When Manuel turns in his figures, which are highly inflated, Marshal turns them in, resulting in problems with the little people who don’t want to be known.

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The Thrill of the Unexpected: Why I Edit Clockwork Phoenix

The Thrill of the Unexpected: Why I Edit Clockwork Phoenix

Hi, folks! Mike Allen here. When I last came through, I blogged about monsters. I want to thank Black Gate overlord John O’Neill for granting me leave to return to this space and shill my new project.

Among the many things I do, I’m the editor of a series of fantasy anthologies called Clockwork Phoenix. At least, the first three books were marketed as fantasy by my previous publisher, even though I included some strange science fiction in their pages as well. (Though I’m someone who sees science fiction as a subset of fantasy rather than a whole separate thing, one of the reasons I’ll use them if they’re odd enough.)

One of the rewards were offering is a signed, numbered, limited edition chapbook of Cherie Priests fantasy tale The Immigrant.
One of the rewards we're offering is a signed, numbered, limited edition chapbook of Cherie Priest's fantasy tale "The Immigrant."

And I’m going to be editing and publishing a fourth volume in the series, thanks to a Kickstarter campaign that’s still underway. As of this writing I’m closing in on an $8,000 goal that will let me for the first time pay five cents a word for fiction – we’re going pro. If we keep going past that, I hope to launch a webzine that will be a companion to Clockwork Phoenix and the poetry journal I also edit and publish, Mythic Delirium, creating even more space for the kind of writing I love to thrive. But we’ll blow up that bridge when we come to it, eh?

John suggested I talk to you folks about how Clockwork Phoenix functions as a fantasy market, and I think that’s a fair question, given what Black Gate is all about.

Put bluntly, Clockwork Phoenix is a market for those who want to push the boundaries of what fantasy can be. I encourage stylistic experiments but insist the stories should also be compelling.

I want to point out that this gives me also sorts of freedom to include material that can’t be easily classified, I wouldn’t call it a break with long standing tradition in our field, at least as I’ve experienced said traditions.

I want to tell you how I was first introduced to short fiction that carries the fantasy label. I’m pretty sure then you’ll see what I mean.

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