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Mary Poppins by PL Travers

Mary Poppins by PL Travers

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Mary Poppins gave a superior sniff.

“Don’t you know,” she said pitingly, “that everybody’s got a Fairyland of their own?”

Ultimately, I have Baird Searles (or you have to blame) to thank for pointing to P.L. Travers‘ original Mary Poppins books. To quote the entry in his A Reader’s Guide to Fantasy (1982), “Those who know P.L. TRAVER’s acerbic creation, Mary Poppins, only through the persona of Julie Andrews, do not really know Mary Poppins, despite the best efforts of that charming actress. Mary Poppins seldom has a kind word for anyone, almost never smiles except at heir own prim reflections, and can get four children washed and in bed with No Nonsense Whatsoever.” I didn’t rush out and buy the books, but his words always lingered in my memory, and when I saw the books for sale in the old Borders in the World Trade Center, I bought the first one, Mary Poppins (1934), and promptly devoured it. Strains of the book and its sequels can be heard in the Julie Andrews’ movie, but there are deeper, more mythic moments that I imagine Walt Disney wanted no part of.

Travers was born Helen Lyndon Goff in Australia in 1899. She took to the stage as a teenager, creating for herself the stage name Pamela Lyndon Travers. For several years she traveled in Australia and New Zealand as part of a Shakespearean company. In New Zealand, she became a published poet and later a primary writer for the women’s sections in a Christchurch newspaper.

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Spoiler Free Review: Coyote vs. Acme

Spoiler Free Review: Coyote vs. Acme

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Coyote vs Acme

In the early 1990s during grad school, I stood outside Professor Derek Penslar’s office, waiting to talk about a class I was taking with him. He had a variety of cartoons and articles posted on his door. Two that I remember were an efficiency consultant’s report on Schubert’s Unfinished Symphony and Ian Frazier’s New Yorker article “Coyote v. Acme.” I picked up a copy of Frazier’s collection titled after that piece when it became available.

Tonight, my wife, a friend, and I got to see the movie inspired by that Frazier article: Coyote vs. Acme. We almost didn’t get to see it.

Filmed in spring of 2022, Warner Bros. Discovery announced plans to shelve the film in November 2023 in order to take a tax write-off, much as they did with Batgirl and Scoob! Holiday Haunt. After a private showing of the film for the cast and crew, however, Warner Bros. Discovery allowed the filmmakers to seek another distribution deal, partly because of public backlash to the decision caused by comments made by the filmmakers. In March of 2025, Ketchup Entertainment bought the distribution rights, screening it first at San Diego Comic-Con and then releasing it on August 28, 2026.

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Almost Gothic: The Nine Tailors by Dorothy Sayers

Almost Gothic: The Nine Tailors by Dorothy Sayers

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The Nine Tailors, first edition (Harcourt, Brace, 1934)

The Nine Tailors has been described as the best of Dorothy Sayers’s novels. It certainly has many of the features of classic literary fiction, including a small rural community as a setting; a cast of characters from every level of society; and elaborate symbolism focused on a set of church bells, each with a meaningful name. Indeed the entire novel seems to have a symbolic level of meaning over and above the literal plot of the mystery. Of course mystery novels nearly all begin in medias res, with the discovery of a death, after which the detective reconstructs the previous events; but this novel’s backstory reaches back roughly two decades, to the Great War, and includes much more than the death.

The title The Nine Tailors alludes to the old saying “Nine tailors make a man.” This is sometimes taken as a slur on tailors as cowards or weaklings, saying that one real man is worth nine of them; but Sayers has in mind a custom of ringing nine strokes of a church bell for a man’s death, six for a woman’s, or three for a child’s. There are several deaths in the course of the novel.

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Richard Stark’s Parker, Part 6: The Man with the Getaway Face

Richard Stark’s Parker, Part 6: The Man with the Getaway Face

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The second Parker novel: The Man With the Getaway Face (Pocket Books, 1963)

What is it?

Parker has gone to a lot of trouble and expense to get a new face. Now he has to fight to keep his identity hidden, while also planning and executing an armored car heist.

A treacherous waitress and a punch-drunk former boxer complicate those matters tremendously.

This is Volume 2 of Richard Stark’s “Parker” series of crime novels. It is also the second part of the unofficial Outfit Trilogy, the first three books in the series, in which Parker goes up against an organized crime syndicate.

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Sour Bill: The Issue at Hand and More Issues at Hand by William Atheling, Jr.

Sour Bill: The Issue at Hand and More Issues at Hand by William Atheling, Jr.

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The Issue at Hand, by William Atheling, Jr., AKA James Blish (Advent: Publishers, 1964). Cover by Jon Stopa

In 1952, a science fiction fanzine, Sky Hook, began publishing a series of critical essays by William Atheling, Jr. When its publisher, Redd Boggs, suspended publication, the science fiction writer James Blish publicly revealed that this was a pseudonym he had adopted. But a few years later, he revived “Atheling” for more criticism, published in another fanzine, Axe.

In 1964, Advent: Publishers collected his critical writings, including both fanzine articles and addresses given at science fiction conventions under his own name, as The Issue at Hand, credited to Atheling, “edited and with an introduction by James Blish,” though the book made no secret of the author’s identity. In 1970, a second collection appeared, More Issues at Hand.

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David C. Smith, Part 5: Sometime Lofty Towers, A Magnificent Work of Sword & Sorcery

David C. Smith, Part 5: Sometime Lofty Towers, A Magnificent Work of Sword & Sorcery

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Sometime Lofty Towers (Brackenbury Books, December 2025). Cover by Saša Đurđević

I’ve just finished reading what may be David C. Smith’s best work — Sometime Lofty Towers.

My first contact with Smith was from the Robert E. Howard related pastiche work he did earlier in his career. He wrote an excellent Black Vulmea story, The Witch of the Indies (Zebra, 1977, cover by Stephen Fabian), and a Bran Mak Morn tale, Witch of the Mists with Richard Tierney (Zebra, 1978, cover by Doug Beekman), and he and Tierney (1936 –2022) collaborated on six novels about Red Sonja. The Sonja tales are not REH pastiches, of course, but are based on a comic book character created to interact with Conan in the Marvel series.

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Richard Stark’s Parker, Part 5: Payback

Richard Stark’s Parker, Part 5: Payback

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Payback: Straight Up Director’s Cut (Paramount direct-to-home-video, 2006)

Payback: Theatrical Cut and Straight Up (The Director’s Cut)

1999 theatrical release; recut, direct-to-home-video DVD in 2006. Written by Brian Helgeland (with Terry Hayes) and directed by Brian Helgeland (with Paul Abascal).

What is it?

Brian Helgeland (A Knight’s Tale; Man on Fire; the script for LA Confidential) wrote and directed this adaptation of The Hunter, the first novel in the Parker series, starring Mel Gibson.

As the film was nearing completion, test audiences reportedly reacted poorly to the ending. And yeah, it’s pretty dark and violent and certainly not the triumphant conclusion many Gibson fans were probably expecting. Consequently, Gibson and the studio removed Helgeland from the film. They brought in Terry Hayes to rewrite the ending and added Kris Kristofferson as a new “final boss” villain.

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Vampires, Shoggoths, and the Monsters of the Suburbs: The Year’s Best Horror Stories XVI, edited by Karl Edward Wagner

Vampires, Shoggoths, and the Monsters of the Suburbs: The Year’s Best Horror Stories XVI, edited by Karl Edward Wagner

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The Year’s Best Horror Stories XVI (DAW Books, October 1988). Cover by J.K. Potter

The Year’s Best Horror Stories: XVI was the sixteenth in the lineup and the eighth volume edited by the great Karl Edward Wagner (d. 1994). This book was copyrighted and printed in 1988 and represents the best short horror in the field for 1987. After twelve straight covers with Michael Whelan’s art, we now have a new cover artist, American illustrator J. K. Potter (b. 1956).

If this were published today, I’d think we’d suspect the cover was AI-generated. It looks almost photographic; but rather than being scary, it seems a little silly to me. But it’s still a horrific scene and was also on the cover the convention booklet in 1986 for the 12th World Fantasy Convention (see below). I’m sure in the mid-1980s it was quite original.

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A Science Fiction Film Noir: Lord of Light by Roger Zelazny

A Science Fiction Film Noir: Lord of Light by Roger Zelazny

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Lord of Light (Avon Books, January 1969). Cover by Ronald Walotsky

His followers called him Mahasamatman and said he was a god. He preferred to drop the Maha- and the -atman, however, and called himself Sam. He never claimed to be a god. But then, he never claimed not to be a god.

Roger Zelazny was considered to be one of the major New Wave writers of the 1960s. But where many of those writers found inspiration in naturalism, modernism, or even surrealism, much of Zelazny’s work was inspired by mythology, somewhat in the style of poets such as Yeats or Eliot.

Early novels in this mode included The Dream Master (expanded from the novella “He Who Shapes”), This Immortal (originally titled And Call Me Conrad, which I think is a much better choice), and Lord of Light, which I’ve long considered his single greatest literary achievement.

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In the Summertime: The Winter’s Tale by William Shakespeare

In the Summertime: The Winter’s Tale by William Shakespeare

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This news, which is called true, is so like an old tale that the verity of it is in strong suspicion.

Second Gentleman, Act V Scene ii

Over the past several years, I’ve written about three of Shakespeare’s plays; The Tempest, A Midsummer Night’s Dream, and Macbeth. All are steeped in the magical and wondrous. Part of the whole point of this column is to force myself to read some things I haven’t already. With plenty of the his plays left unread, I turned once more to his works. While no more of his works are as overtly supernatural, I knew there were elements to be found in at least one or two more. Perhaps, the most obvious is Hamlet, wherein a dead king’s ghost spurs his mopey son on to action. As I’ve read and seen it performed numerous times, I dug around a bit and came upon The Winter’s Tale. While in the end it’s doesn’t near the three first mentioned plays in mystical content, there is some, and, more importantly, it’s a fascinating and strange play.

First published in the First Folio in 1623, the exact date of the play’s composition remains uncertain. Nonetheless, most authorities consider it one of his latter works, probably written around 1610. It’s catalogued among his problem plays, a term first used by critic F.S. Boas to describe All’s Well That Ends Well, Measure for Measure, and Troilus and Cressida. These are plays that veer from the tragic to the comic, not sticking to a single major tone as do his comedies and tragedies. Later, The Winter’s Tale, Timon of Athens, and The Merchant of Venice were added to the list by others. Boas felt the plays allowed the exploration of complex themes in unique ways. That The Winter’s Tale veers from the terrible and tragic to the comic and pastoral before achieving reconciliation can definitely be seen in this light.

The title implies we are going to hear a story, one that might be told around the hearth on a cold winter’s night. Filled with implausibilities, it will draw us into a tale both tragic and comic, but in the end, provide us with a happy ending (more, or less) that we want to hear.

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