IN A DISTANT AND SECONDHAND SET OF DIMENSIONS, in an astral plane that was never meant to fly, the curling star-mists waver and part…
See…
Great A’Tuin the turtle comes, swimming slowly through the interstellar gulf, hydrogen frost on his ponderous limbs, his huge and ancient shell pocked with meteor craters. Through sea-sized eyes that are crusted with rheum and asteroid dust He stares fixedly at the Destination.
In a brain bigger than a city, with geological slowness, He thinks only of the Weight.
Most of the weight is of course accounted for by Berilia, Tubul, Great T’Phon and Jerakeen, the four giant elephants upon whose broad and star-tanned shoulders the Disc of the World rests, garlanded by the long waterfall at its vast circumference and domed by the baby-blue vault of Heaven.
Astropsychology has been, as yet, unable to establish what they think about.
So begins The Colour of Magic (1983), the first volume of the eventually forty-one-book-long Discworld series by Terry Pratchett. I was lent this book (along with another Pratchett book, Strata (1981), which I’ve still never read — or returned, possibly) back in 1985 when it first hit US shores. He said it was funny and it was.
I hadn’t laughed much during earlier run-ins with fantasy and sci-fi comedies, save for Douglas Adams’s The Hitchhiker’s Guide to the Galaxy. Too often, puns were what passed for wit and the satire was shallow. Returning to Colour for the first time in many years, I’m impressed with how sharp Pratchett’s eye was when it came to picking his genre targets and just how good his prose was. His writing would become more complex, deeper, and much darker over the decades, but already, it’s witty and effervescent. In an age of such po-faced seriousness, we could use more of it.
Nightfrights (Peacock/Penguin, 1975). Cover by David Smee
They say that science fiction and fantasy readers love to identify with their heroes. To imagine themselves learning that they’re a wizard, attending Hogwarts School of Witchcraft and Wizardry. Or being called to participate in The Hunger Games, or captain a starship.
I get it. I’m 59 years old, and the instant I saw the cover of the 1975 edition of Nightfrights I identified with the wide-eyed old coot on the cover. That’s what qualifies as an intrepid hero I can identify with these days. Awakened in the middle of the night, called upon to investigate the inhuman shrieks in the backyard, telling ourselves it’s just raccoons but knowing in our heart that’s it’s ghouls. Or Bughuul, from that Sinister movie I just watched on Prime. Or our neighbor Jerry, driven mad by fumes from his lawnmower. Don’t come any closer Jerry, I’ve got Alice’s rolling pin, and I know how to use it.
Addison Hodges Hart, an American relocated in Norway, is a versatile author who has now successfully tried his hand atcreating ghost stories.
The present volume collects eleven ghostly tales, most of which are impressively good, skillfully avoiding the always common risk of repeating old clichés.
The title evokes the Patapsco River Valleyand Ellicott City, Maryland, where Hart grew up.
The Blighted Stars and The Fractured Dark (Orbit, May 23, 2023 and September 26, 2023). Covers by Jaime Jones
Megan E. O’Keefe, author of the The Protectorate trilogy (Velocity Weapon, Chaos Vector, Catalyst Gate) and The Scorched Continent novels (Steal the Sky, Break the Chains, and Inherit the Flame) has what looks like another hit on her hands with a popular new series. The first book, The Blighted Stars, arrived in May, and sequel The Fractured Dark is due in September.
I’m hearing a lot about the first book. It’s a space opera/romance with a fascinating premise (upload your consciousnesses into 3D-printed bodies), rich worldbuilding (a galaxy is ruled by wealthy families, a hunt for unspoiled “cradle worlds,” and a resistance group working to save them through guerrilla warfare), and great characters, including an idealistic resistance fighter stranded on a dead planet with the heir to the Mercator Dynasty.
But what fascinates me is the promise of creepy adventure on a dead planet, and The Blighted Stars sounds like it delivers.
War in Heaven (Bantam Spectra, January 1998). Cover by Dean Williams
David Zindell came out of the gate strong as a young science fiction writer in the 80s and 90s. He was nominated for the John W. Campbell Award for Best New Writer in 1986, and his debut novel Neverness won instant and wide acclaim. Edward Bryant said it “Propels him instantly into the big leagues with the likes of Frank Herbert and Ursula K. Le Guin,” and Kirkus Reviews gushed “Zindell succeeds brilliantly… in his convincing portrayal of what a super-intelligent being might be like…. Vastly promising work.” On the basis of that single novel, Gene Wolfe called Zindell “One of the finest talents to appear since Kim Stanley Robinson and William Gibson — perhaps the finest.”
Zindell followed up Neverness with a sequence set in the same universe, A Requiem for Homo Sapiens. War in Heaven (1998) was the last book in the series — and in fact the last science fiction book he ever wrote. At least until he returned to the genre this year, with his first new SF novel in a quarter century, The Remembrancer’s Tale.
Lord of a Shattered Land and The City of Marble and Blood
(Baen, August 1 and October 3, 2023). Covers by Dave Seeley
A few times in my life I’ve had an early look at a book that I knew was going to revolutionize fantasy. When I received an advance proof of A Game of Thrones by George R.R. Martin in 1996. When Andy Heidel at Avon sent us an early copy of Neil Gaiman’s first novel. When Betsy Wollheim at DAW sent me an advance reading copy of The Name of the Wind in the fall of 2006.
I had that same feeling while reading Howard Andrew Jones’ Lord of a Shattered Land, the opening book in the Chronicles of Hanuvar, on sale in less than two weeks. Howard is the leading Sword & Sorcery author of the 21st Century, and this series is his masterwork.
The Year’s Best Horror Stories: Series XIII (DAW Books, October 1985). Cover by Michael Whelan
The Year’s Best Horror Stories: Series XIII was the thirteenth in the DAW Year’s Best Horror series, and the sixth edited by the great Karl Edward Wagner (1945–1994). The book was copyrighted and printed in 1985. Michael Whelan returns as cover artist after taking a hiatus from Series XII. This marked Whelan’s tenth cover for the series! The newest cover is more fantasy than horror with an elf or goblin-like human playing a bone as a flute in a Pan-like fashion. There is a darkness to the art that is suggestive of horror or darker fantasy. Whelan’s diverse choice of artistic topics for horror does not disappoint.
This volume contained seventeen different authors. All male. Nine were American, six were British, and there is one returning Canadian author, Vincent McHardy and a returning German-born author, David J. Schow. Six of these stories came from books. Another six came from professional magazines. Two came from fanzines, one from a convention program, one from a chapbook, one from a journal, and one from a comic book. Considering the pre-internet era of this volume, Wagner is impressive in that he seemed to read everything from everywhere, looking for good horror.
The Mind Spider and Other Stories and Ships to the Stars (Ace Books, 1976). Covers by Walter Rane
Last year I discussed the marvelous collection The Worlds of Fritz Leiber, published by Ace in 1976, and was astounded to find the author make this claim in the introduction.
I believe this collection represents me more completely, provides a fuller measure of the range of my fictional efforts, than any other. I’ve tried to make it that way, without repeating stories from other collections, especially the ones currently in print. There no overlap with those whatsoever. (Overlapping collections are an annoyance to readers and authors alike.)
Leiber had more than half a dozen collections in print in 1976, including five volumes of Fafhrd and the Gray Mouser tales, two volumes of The Book of Fritz Leiber (DAW, 1974 and 1975), The Best of Fritz Leiber (Del Rey, 1974), and the two collections we’re discussing today, The Mind Spider and Ships to the Stars.
How is it possible to assemble a world-class retrospective and avoid any overlap with his other popular collections? I guess the only way to do it is to be Fritz Leiber.
In the Palace of Shadow and Joy, Between Princesses and Other Jobs, and Among the Gray Lords
(Baen Books, July 2020, July 2023, and January 2024). Covers by Don Maitz and Kieran Yanner
Dave Butler first came to my attention with the Witchy Eye series. It was pitched to me as epic fantasy set in Colonial America. I took this to mean Alternative History, which is interesting but not really my cup of tea. After several rounds of recommendations from people I trust, I finally took the leap. And that’s when I read this line right here:
Not since St. Martin Luther nailed the skin of the Eldritch ’eretic Cetes to the church door in Wittenberk an’ cried ‘’ere I stand!’ ’as such powerful preachink been ’eard by Christian ears, I trow!
Saint Luther? Nailing the skin of a heretic to the door of Wittenberk, rather than the Theses? Brother, if you know me, you know how all in I am at this point. By the time I was done with the book, David Butler had entered the hallowed halls of authors whose books I buy the day they drop.
Gods of the Wyrdwood (Orbit, June 27, 2023). Cover design by Duncan Spilling
RJ Barker is the author of The Wounded Kingdom trilogy (Age of Assassins, Blood of Assassins, and King of Assassins), and The Tide Child trilogy (The Bone Ships, Call of the Bone Ships, and The Bone Ship’s Wake). His newest novel Gods of the Wyrdwood, published by Orbit last month, kicks off — you guessed it — a new series, The Forsaken Trilogy.
I’m intrigued by this one because it seems very different from many of the fantasy novels cluttering the shelves. Paste Magazine calls it “A unique spin on the traditional Chosen One trope… one doesn’t turn out anything like you expect.”
