Katherine MacLean was born on January 22, 1925. Her novella, “The Missing Man” received the Nebula Award in 1971, and in 2003 she was named an Author Emerita by the Science Fiction and Fantasy Writers of America. MacLean was the guest of honor at the first WisCon in 1977, and in 2011 she was named the recipient of the Cordwainer Smith Rediscovery Award. Best known for her short fiction, which has been collected in three volumes, she has also written three novels and has co-written works with Carl West, Tom Condit, and Charles V. De Vet.
“The Snowball Effect” was first published in Galaxy Science Fiction in the September 1952 issue, edited by Horace L. Gold. It has been reprinted several times, including in MacLean’s collections The Diploids and Science Fiction Collection.
Judith Merril was born Judith Grossman on January 21, 1923 and died on September 12, 1997. She adopted the pseudonym Judith Merril for her writing. Merril received an Aurora Award in 1983 for Lifetime Contributions to the field and a second Aurora Award in 1986 for Lifetime Achievement in Editing. She was the subject of the non-fiction book Better to Have Loved: The Life of Judith Merril, written by her granddaughter, Emily Pohl-Weary, which won the 2003 Hugo Award for Best Related Work.
In addition to her writing career and her activities as an editor, Merril founded the Spaced Out Library in Toronto, now the Merril Collection of Science Fiction. In addition to her own writing, Merril collaborated with C.M. Kornbluth, publishing work under the joint pseudonym Cyril Judd. She was married twice, first to Dan Zissman, and later to science fiction author Frederik Pohl.
“Barrier of Dread” was originally published in the July-August 1950 issue of Future Combined with Science Fiction Stories and was later picked up by Martin Greenberg for his Gnome Press anthology Journey to Infinity. It also appeared in Selected Science Fiction Magazine issue 5 in 1955. It was next reprinted in Homecalling and Other Stories: The Complete Solo Short SF of Judith Merril, published by NESFA Press.
In “Barrier of Dread,” Merril posits a future which seems to have been popular among mid-twentieth century authors: A galactic-spanning empire in which humans have complete luxury while robots and automata do all the hard work. As Managing Director Dangret is preparing to open up a new galaxy for human colonization, his wife, the artist Sarise makes an offhand comment about the speed with which new galaxies are being opened.
Despite his lofty title, it appears that Dangret has plenty of time on his hands because his niggling concerns at his wife’s comment leads him to lock himself away for several hours watching a history of humanity, which gives Merril a chance to provide the background for this world to her reader.
I read Frank Herbert’s Dune for the first time during university and loved it. It was pretty obvious why it had won the 1965 Hugo and Nebula awards. When I was in my late 30s, I went back to it, and couldn’t get through even a few chapters before the crash-and-burn. What happened?
Bad writing to start with, mostly bad dialogue. The first bunch of chapters intercuts a lot between interesting things, like the Bene Gesserit and prescient memories, and Paul’s adventures, and cartoony super-villainy spouting Republic Serial Villain dialogue.
“Fools!”
“Those fools!”
“I’m going to get you!”
This execrable dialogue doesn’t even contain itself to the quotation marks. In-narrative close-third person dips into character’s thoughts spread the pain into the narrative and make George Lucas look like Hemingway.
We spend so much time with the villains in their self-congratulatory soliloquies at the beginning that I just stopped, scratching my head at how I could have enjoyed this.
Was I just a naive reading at 20, or had the style of writing changed so much between 1990 and 2010s that I’d gotten accustomed to different styles and aesthetics? I think probably it’s a bit of both.
But finally, in 2018, I finally tried again and pressed through and it turns out that after Paul and his mother are in the desert, the villains take a back seat. Then we get into the good stuff like the Fremen culture, some of the implications of the Bene Gesserit missionary work, the prescient memories as perceptions through time, and the sand worms.
In December, my patience with North American video distributors at last ran out. If they refused to deliver Region A Blu-rays, and in some cases even DVDs, of movies from my beloved Hammer Film Productions, I needed to take drastic steps. Yes, I asked Santa Claus for a region-free Blu-ray player. Santa delivered as promised and I immediately ordered a Blu-ray of The Plague of the Zombies from Amazon.uk.
Next on the list … Warlords of Atlantis. It’s not a Hammer Film, but going region-free brings benefits like at last owning a copy of the fourth Edgar Rice Burroughs film from the team of director Kevin Connor and producer John Dark. It isn’t actually an Edgar Rice Burroughs adaptation, but in intent and most of the execution it might as well be.
Explain? Glad to. Connor and Dark made three low-budget movies in Britain based on ERB’s most popular science-fiction stories: The Land That Time Forgot (1975), At the Earth’s Core (1976), and The People That Time Forgot (1977). This Burroughs trio struck gold at the box-office, especially with adventure- and monster-loving kids. Connor and Dark planned a movie based on A Princess of Mars, this time working with EMI Films in co-production with Columbia.
Kij Johnson was born on January 20, 1955. Johnson won the Nebula in three consecutive years for her short stories “Spar,” “Ponies,” and the novella “The Man Who Bridged the Mist.” “The Man Who Bridged the Mist” also received the World Fantasy Award, Hugo Award, and Asimov’s Reader Poll. Johnson also won a World Fantasy Award for the novella The Dream-Quest of Vellitt Boe and the Theodore Sturgeon Award for “Fox Magic.” She served on the Sturgeon Award jury from 1997 through 2012 and on the World Fantasy jury in 2014.
“The Evolution of Trickster Stories Among the Dogs of North Park After the Change” was original published in the anthology Coyote Road: Trickster Tales, edited by Ellen Datlow and Terri Windling. It was picked up for Year’s Best Fantasy and Horror, edited by Datlow, Kelly Link, and Gavin J. Grant. The story was nominated for the Sturgeon, World Fantasy, and Nebula Award. Johnson included it in her collection At the Mouth of the River of Bees. The story has been translated into German.
Allen Steele was born on January 19, 1958. He was a finalist for the 1990 John W. Campbell, Jr. Award for Best New Author. Steele’s first two Hugo Awards were for his novellas “The Death of Captain Future” and “Where Angels Fear to Tread” in 1996 and 1998. His third Hugo was for Best Novelette and broke with the five-word titles, for “The Emperor of Mars” in 2011.
He also received the Phoenix Award in 2002 from the Southern Fandom Confederation and the Robert A. Heinlein Award from the Heinlein Society in 2013. Many of Steele’s early works focused on the expansion of mankind into near earth space, with his more recent works exploring the planet Coyote.
“Day of the Bookworm” was published in the anthology Little Green Men—Attack!, edited by Bryan Thomas Schmidt and Robin Wayne Bailey and published by Baen Books in March, 2017.
When an alien spaceship lands in front of the main branch of the Boston library (as well as New York’s and London’s) in Allen Steele’s “Day of the Bookworm,” the military has a predictable response, cordoning off the blocks around the building and evacuating the library while waiting for any activity which would allow a military response. They are not prepared, however, for what actually happens, which is the appearance of two librarians, Molly Cooper and Levon Kahn, who were engaged in an illicit tryst and unaware of the evacuation notice.
The result was that they were able to work with the aliens who had entered the building to build up a sort of détente and understanding between the two races. Steele posits a similar situation to Galaxy Quest, which he notes within the story itself. His response is different from that of the film as his librarians work with the aliens, who resemble large slugs, to ensure that they have a better understanding of humanity, while not threatening them, despite the military power arrayed outside the library. Steele’s librarians’ solution is clever, but they must explain it to a reasonably sympathetic army colonel and an officious White House aide.
Pamela Dean was born on January 18, 1953. Dean has published the Secret Country trilogy as well as three stand-alone novels. In the 1980s, she was involved in the Liavekseries of shared world anthologies, contributing stories to each of the five volumes as well as the title poem for the fourth volume. She has been nominated for the Mythopoeic Award twice, for her novels Tam Lin and The Dubious Hills.
Her story “Paint the Meadows with Delight” appeared in Will Shetterly and Emma Bull’s anthology Liavek: Wizard’s Row in 1987, and was reprinted in 2015 in Patricia Wrede and Pamela Dean’s Points of Departure: Liavek Stories.
Although set in a shared universe, Pamela Dean’s “Paint the Meadows with Delight” stands on its own. The Benedictis are a large Acrivain family living in exile in the city of Liavek. While the father attends political meetings, the rest of the family lives in wait for the day they can return to their native country. One of the daughters, Jehane, is convinced the Acrivain god Acrilat has turned his back on the family because they have left their native land. The result is that the family is in turmoil and one of the sons, Deleon, has disappeared.
Jehane is determined to restore her family to their lost happiness and seeks out one of Liavek’s wizards to help. Jehane’s plan isn’t particular well thought out, in either her goals or her mission. She seeks both to have Acrilat leave her family alone and also to have the family able to return to an Acrivain that is politically welcoming to them. These goals, along with her search for her missing brother, take her on a miniature quest through Liavek, visiting Granny Carry, the Magician, and, at the Magician’s insistence, the House of Responsible Life, and Silvertop, another magician.
In the end, the success of her quest, or even who helped her achieve it, is questionable. The most that can be said is that Jehane may have been able to reconnect on some level with her younger sister, Nerissa, who she also learned has been quite active in ways that Jehane had not even suspected.
While the story can be read and enjoyed on its own merits, its place in the shared-world universe gives it quite a bit of background depth and its structure as a quest around Liavek allows Dean to touch on the characters and concepts created by the other authors.
Since the Arab Spring, there has been an upsurge in dystopian fiction coming out of the Middle East. The dashed hopes of that widespread popular uprising have found their expression in pessimistic novels such as Otared, (reviewed in an earlier post) and several other notable works of fiction.
One of the most lauded in the West is The Queue by Basma Abdel Aziz, an Egyptian writer and social activist.
In The Queue, we are transported to a strange near future where the civilian government has been taken over by a faceless entity called the Gate. The Gate issues a series of edicts that become ever more baffling and hard to obey. Companies are forced to changed what they produce, individuals need to get signed forms for even the most mundane matters, and little by little the Gate forces its way into every aspect of the city’s life.
The people rebel, in what the Gate refers to as the Disgraceful Events, which are suppressed with predictable police brutality. One of the casualties is a young man named Yehya, who is shot by a police officer. Yehya needs a form signed in order to have the bullet removed, but the Gate closes right after the Disgraceful Events.
As Yehya languishes, the Gate issues a continuous torrent of edicts, prompting more and more citizens to line up in front of the Gate hoping to get their forms filled out. The line soon stretches for miles, developing its own economy and culture. Street preachers rail against the citizens for their lack of faith in the Gate, shopkeepers try to make a living selling tea and snacks to the other people in line, and salesmen give away free mobile phones that are bugged.
John Bellairs was born on January 17, 1938 and died on March 8, 1991. He is best known for his novel The Face in the Frost. Most of his focus was on young adult fiction, including the Anthony Monday series, the Cubby Lewis Barnavelt series, and the Johnny Dixon series. After Bellairs’ death, Brad Strickland wrote novels in the Barnavelt and Dixon series.
Occasionally Bellairs turned his attention to short fiction. His short story “The Pedant and the Shuffly” was originally published as a stand-along book in February 1968 with illustrations by Marylyn Fitschen. Mythopoeic Press reprinted it in 2001 and it was included in the NESFA Press Bellairs omnibus Magic Mirrors in 2009. Both reprintings included Fitschen’s illustrations.
“Extinction is the saddest word,” Letta’s mentor tells her on his deathbed. “You don’t understand. In the old days, before the Melting, no one would listen. No one. The politicians just talked and talked. They used words to keep the people in ignorance.”
A dystopian novel, Patricia Forde’s The List takes place in our world after the polar ice caps have disappeared and sea levels have risen. Letta, our seventeen-year-old heroine, is only an apprentice when she abruptly inherits her master’s position as Wordsmith. Now a member of the elite, she’s one of the few people in the town of Ark who’s allowed to use the full scope of language. Everyone else must speak “List,” 500 words that leader John Noa has approved. (Yes. Letta lives in Noa’s Ark.)
The List doesn’t include words like “hope,” “love,” or “dream.” Noa considers these words too dangerous, since they encourage people to think about the future. Most articles are gone, as well as “Hello,” “Thank you,” and “Please.” People are only allowed to use specialized vocabulary if it’s necessary for them to do their jobs. Art and music of all kinds likewise have been forbidden.
As Wordsmith, Letta prepares basic Lists for Ark schoolchildren and specialized Lists for apprentices. She also thinks it’s part of her job to preserve non-List words so that humans can recover language at some future time, when our ancestors have proven they can handle it responsibly. What she doesn’t know is that Noa destroys her note cards, believing humans must be stripped of language completely.
