Black Gate

The Forever War (Ballantine Books, 1976). Cover by Murray Tinkelman

Rich Horton continues to review classic science fiction novels at his blog, Strange at Ecbatan. Last month he turned his attention to Joe Haldeman’s The Forever War, on the 50th anniversary of its release.

It’s definitely worth reading — a bitter and cynical look at war, some cool ideas including the effect of time dilation and lots of physics, a somewhat transcendent but pretty creepy conclusion. And, also, some very ’70s things, including pretty questionable — at times downright offensive — “sexual revolution” era sexual politics, and oddly 70s-ish notions of dystopia. My impression… I liked it then and I endorsed its Hugo and Nebula wins.

The Forever War is one of the most honored science fiction novels of all time. First published by St. Martin’s Press in 1975, it swept every major SF Award, including the Hugo, Nebula, and Locus awards. In 1987 it placed 18th on Locus’ list of All-Time Best SF Novels, beating out The Martian Chronicles, Starship Troopers, and Rendezvous with Rama. It’s been in print nearly continuously for the last four and a half decades. Here’s some of the most noteworthy editions.

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The latest in my series of reviews of mostly forgotten SF/F from the 1970s and 1980s is a fairly obscure YA fantasy. X. J. Kennedy was the name used for his writing by Joseph Charles Kennedy. He was known as Joe Kennedy but started using the X. J. pseudonym to avoid confusion with Joseph Kennedy, the father of President John F. Kennedy. Kennedy was born in 1929, and is still alive, aged 95. This makes him a candidate for oldest living SF/F writer.

He was a prominent SF fan from the mid ’40s to early ’50s, publishing the fanzine Vampire, and co-founding an APA, the Spectator Amateur Press Association, that is (according to Wikipedia) still active. He also sold two stories to prozines in 1951 — “No More Pencils, No More Books” (not to be confused with the John Morressy story) to Science Fiction Quarterly and “Music From Down Under” to Other Worlds; both as by “Joquel Kennedy.”

By then he had received his B.A. from Seton Hall, and his M.A. from Columbia, and he went into the Navy as a journalist for four years. After his service, he studied at the Sorbonne and at Michigan, then went into academia as a professor at UNC Greensboro and at Tufts. The bulk of his writing from the early ’50s on was poetry — much of it light verse, and much of it for children — and college textbooks. He was also an editor, and with his wife Dorothy he founded a magazine devoted to New Formalist poetry, Counter/Measures. He wrote the occasional short story, and two YA fantasy novels, of which The Owlstone Crown, from 1983, was the first.

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Galactic Gambit (Lenox Hill Press, September 1971). Cover by Herbstman

In my recent looks at less-remembered novels of the ’70s and ’80s I’ve covered some obscurish works by well-remembered writers (Phyllis Eisenstein, L. Sprague de Camp) and some obscurish works by less well known but hardly unknown writers (Gerard Klein, Mick Farren), and even some quite little known writers (Atanielle Annyn Noel).

But this time I’m trying for something truly obscure — a hardcover from 1971 that is the only novel by its writer, from a publishing company that offered microscopic advances ($300) and sold only to libraries. The only semblance of a review of this novel I could find is in the Science Fiction Encyclopedia (of course!) and it reads in full: “US printing technician and author of Galactic Gambit (1971), an unremarkable Space Opera.”

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In the Hands of Glory (Timescape/Pocket Books, November 1981). Cover by Rowena Morrill

Here’s my new look at an SF paperback from the ’70s/’80s. Phyllis Eisenstein’s In the Hands of Glory is a book I eagerly bought and read back when it came out, in 1981. By a writer whose work I enjoyed. From a publishing imprint (Timescape, edited by David Hartwell) that I greatly respected. (Not to mention the Rowena Morrill cover which, let’s just say, overtly exaggerates certain physical characteristics of the protagonist relative to her actual depiction in the book.) And I had fond, but very dim, memories of the book. So I reread it.

Phyllis Eisenstein (1946-2020) was a Chicago writer. Black Gate is a Chicago-based ‘zine, and I’m originally from the Chicago area myself, and over the years I got to know Phyllis and her husband (and sometime collaborator) Alex fairly well, from meeting them at any number of conventions. Indeed, at this year’s Windy City Pulp and Paper Convention, I had a long conversation with Alex which touched on their time in Germany (Alex was in the military then) during which Phyllis drafted her first novel.

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