Black Gate

Strange Monsters of the Recent Past (Ace Books, July 1991). Cover by Alan M. Clark

Howard Waldrop passed away in January of this year, and his death was a major loss. It’s common, especially for writers, to be praised as a unique talent, but in Waldrop’s case there may be no more apt description. He had an entirely unique voice. There was no one else like him.

Waldrop left behind a single solo novel and over a dozen collections, but I think the one I treasure the most was his fourth, Strange Monsters of the Recent Past, published by Ace Books in 1991. It was one of the very few to appear in mass market paperback (the other was the Locus Award-winning Night of the Cooters, reprinted by Ace in 1993).

Strange Monsters of the Recent Past contains some of his most acclaimed short fiction, including the long novelette “He-We-Await,” from Asimov’s Science Fiction Magazine, and his famous retelling of the labors of Hercules set in the Jim Crow south, the Nebula, World Fantasy and Locus Award-nominated novella A Dozen Tough Jobs.

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To Reign in Hell (Ace Books, May 1985). Cover by Stephen Hickman

In 1983 all my friends in Ottawa were talking about the debut novel by a young fantasy writer from Minnesota. The book was Jhereg, and it launched Steven Brust’s career in a major way. A caper tale (told from the criminal’s point of view) in a world of high-stakes court intrigue, Jhereg became an instant fantasy classic. As Fletcher Vredenburgh wrote years later here at Black Gate,

Jhereg reads like a fantastic and slightly off-kilter version of a Golden Age crime story. The focus is on Vlad’s ingenuity and the puzzle of how to kill the thief. That plus the witty banter, snarky sidekicks, and some action here and there kept me captivated.

All eyes were on Brust when his second novel appeared. Although most of us expected more tales of adventure set in the world of Dragaera, that would have to wait until Yendi — the first of a great many sequels in what eventually became one of the most successful and long-running series in modern fantasy — arrived a few months later. Brust’s actual second novel was To Reign in Hell, a fantasy retelling of Milton’s Paradise Lost, and it proved Brust would have an extraordinary fantasy career.

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To the Resurrection Station (Avon, October 1986). Cover by Tom Kidd

Eleanor Arnason is a familiar name to anyone who’s been reading short science fiction for the past four decades. Her first story appeared in New Worlds 6 in 1973, and since then she’s published dozens of acclaimed tales in most of the major markets, especially Asimov’s Science Fiction, The Magazine of Fantasy & Science Fiction, Tales of the Unanticipated, and many fine anthologies. Her short fiction has been nominated for the Nebula Award five times, including “The Potter of Bones” (Best Novella, 2003) and “Stellar Harvest” (Best Novelette, 2000), both published in Asimov’s SF.

Her novel output has been a little thinner, though still highly acclaimed. Her fourth novel, A Woman of the Iron People, won both the inaugural James Tiptree Jr. Award in 1991, and the 1992 Mythopoeic Award. But today I want to talk about her first science fiction novel, the quirky and original far-future tale To the Resurrection Station.

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Nights Black Agents (Berkley Books, May 1980). Cover by Wayne Barlowe

Nights Black Agents was Fritz Leiber’s first first collection — and in fact his first book. It was originally published in hardcover by Arkham House in 1947, when Leiber was 37 years old.

It collects six stories published in Weird Tales and Unknown Worlds, plus one tale from a fanzine, and three new stories — including the long Fafhrd and the Gray Mouser novella “Adept’s Gambit.” Needless to say, it was very successful, and enjoyed a series of hardcover and paperback editions that kept it in print for over three decades.

Nights Black Agents launched Leiber’s writing career, and he followed it with some three dozen more collections (and many novels) before his death in 1992.

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Horrors in Hiding, Horrors Unseen, and Horrors Unknown (Berkley Medallion, February 1973,
June 1974, and February 1976). Covers: Vincent Di Fate (x2), uncredited

A few years back I wrote a trio of Vintage Treasures pieces about a series of Berkley Medallion paperback horror anthologies from the mid-70s, all edited by Sam Moskowitz (with an assist from Alden H. Norton).

Horrors in Hiding (February 1973)
Horrors Unseen (June 1974)
Horrors Unknown (February 1976)

The last two were the final anthologies Moskowitz produced. I was planning to investigate one of Moskowitz’s classic science fiction anthologies this weekend — maybe Masterpieces of Science Fiction (1967), or Under the Moons of Mars (1970) — but by midnight Friday I was deep into a stack of his horror anthologies again. I’m mesmerized by those creepy covers, what can I tell you.

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The Bantam Spectra Élisabeth Vonarburg: The Silent City (August 1992),
In the Mothers’ Land (December 1992), and Reluctant Voyagers (March 1995).
Covers by Oscar Chichoni, Oscar Chichoni, and Stephen Youll

I left Canada to attend grad school at the University of Illinois in Urbana Champaign in August 1987, and when I did I lost touch with much of the vibrant Canadian SF scene. There were a few Canadian authors celebrated in the States — folks like Charles de Lint, Donald Kingsbury, Julie Czerneda, Peter Watts, Guy Gavriel Kay, and a handful of others — but they were the exception. I had to get used to not hearing favorite Canadian acts on the radio (like The Box and Gowan), and I gradually got used to a lack of Canadian representation in bookstores as well.

That’s why it was such a delight to see French Canadian author Élisabeth Vonarburg experience a brief but marvelous period in the sun in the mid-90s, when Bantam Spectra translated three of her most famous novels into English, and brought them to the attention of grateful American readers.

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