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Birthday Reviews: Robert Holdstock’s “Magic Man”

Birthday Reviews: Robert Holdstock’s “Magic Man”

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Cover by Alun Hood
Cover by Alun Hood

Robert Holdstock was born on August 2, 1948 and died on November 29, 2009.

He won a British Science Fiction Award (BSFA) for the original novelette “Mythago Wood” in 1981, and the novel version earned him the 1984 BSFA and the 1985 World Fantasy Award. The second book in the series, Lavondyss, won the BSFA in 1988. Holdstock’s novella “The Ragthorn” won the World Fantasy Award in 1992 and the BSFA Award the following year. He won a third BSFA in 1989 for Best Artist for the anthology Other Edens III, shared with Christopher Evans. He won a special Prix Imaginaire in 2003 for La forêt des mythagos, tome 1 and tome 2, two volumes that contained five Mythago Wood novels. The following year, he won the Prix Imaginaire for his novel Celtika. He was awarded the Karl Edward Wagner Award posthumously in 2010.

“Magic Man” was originally published in Mary Danby’s anthology Frighteners 2 in 1976 and reprinted in Danby’s 65 Great Tales of the Supernatural three years later. Holdstock included it in his collection The Bone Forest and it showed up in the reprint anthology Great Vampires and Other Horrors. The story was translated into German for an appearance in Heyne Science Fiction Magazin #5 in November 1982 and into French in 2004 for a collection of Holdstock’s works, Dans la vallée des statues et autres récits.

On the face of it, “Magic Man” seems to be a face-off between One Eye, the old man in a group of prehistoric hunters who paints images of the hunt on the walls of the shrine-cave, and He Who Carries a Red Spear, the leader of the bands hunting bands. There is clearly no love lost between the men and the situation is made worse because Red Spear’s son enjoys hanging around with One Eye and wants to learn to draw.

One Eye teaches Red Spear’s son to paint in the cave, but, while he teaches technique and discusses proper topics, he fails at the most basic level to explain to the boy the importance of painting in the shrine-cave. While some poo-poo the cave’s effectiveness, it is clear that what is painted there influences the day’s hunt, down to the number of bison the hunters capture. When the clash between Red Spear and One Eye escalates, One Eye instructs the boy to paint a scene which clearly shows that One Eye plans to murder Red Spear, which would put the entire tribe at risk.

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Birthday Reviews: Raymond A. Palmer’s “Diagnosis”

Birthday Reviews: Raymond A. Palmer’s “Diagnosis”

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Cover by Robert Gibson Jones
Cover by Robert Gibson Jones

Raymond A. Palmer was born on August 1, 1910 and died on August 15, 1977.

Although Palmer wrote short stories and novels, he was best known as an editor. From 1938-1949, he edited Amazing Stories and from 1939-1949 he edited Fantastic Adventures as well for Ziff-Davis, resigning when they moved production from Chicago to New York. He formed his own company, Clark Publishing, and began publishing Other Worlds Science Stories from 1949 to 1957, during which time he also edited and published Fate Magazine, Universe Science Fiction, Mystic Magazine, Science Stories, and Space World. His assistant in the early 1950s, and often times credited co-editor, was Bea Mahaffey. Palmer is perhaps best remembered for publishing the fiction of Richard Shaver and promoting Shaver’s stories as non-fiction. In 1961, comic author Gardner Fox paid tribute to Palmer by using his name for the DC character the Atom.

Palmer published “Diagnosis” in his magazine Other Worlds Science Stories in the March 1953 issue. The story has never been reprinted.

Donald Jensen and Mary Mason are working on experiments trying to map the subconscious to the conscious mind. Although both are brilliant scientists, Jensen still manages to be condescending to Mason and dismissive of her at times due to her gender. He also gives her a hard time about dating someone named Brannan. Mason puts up with his garbage, but at the same time she pushes back, reminding him that she is competent and capable and that what she does when she isn’t working isn’t really any of his business.

When they decide to reverse the experiment, and try to read Jensen’s brain patterns instead of Mason’s, the machine provides an actual picture of what he is thinking rather than simply the wavy lines that it usually reports and when it becomes clear to Mason that Jensen’s subconscious is picturing her naked, she slaps him and the machine shorts out, leaving both of them unconscious. Upon awakening, they check the record and learn that Jensen’s subconscious took them through a fantasy world adventure in which Dahnjen Saan had to rescue Marima Saan from the evil priest Bra Naan.

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Birthday Reviews: July Index

Birthday Reviews: July Index

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Cover by David Christiana
Cover by David Christiana

Cover by Mel Odom
Cover by Mel Odom

Cover by Oscar Grand
Cover by Oscar Grand

January index
February index
March index
April index
May index
June index

July 1, Genevieve Valentine: “ From the Catalogue of the Pavilion of the Uncanny and Marvellous, Scheduled for Premier at the Great Exhibition (Before the Fire)”
July 2, Kay Kenyon: “The Executioner’s Apprentice”
July 3, Michael Shea: “Fast Food”
July 4, Peter Crowther: “Cliff Rhodes and the Most Important Voyage”
July 5, Jody Lynn Nye: “Theory of Relativity”
July 6, John Langan: “The Unbearable Proximity of Mr. Dunn’s Balloons”

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Into the Night: She Is the Darkness by Glen Cook Part 2

Into the Night: She Is the Darkness by Glen Cook Part 2

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0812555333.01.LZZZZZZZI think this reread of She Is the Darkness (1997) took me so long because I subconsciously remembered how disappointing it is. The first half (reviewed last week), despite a bunch of problems, is all right because of Cook’s usual talent at creating cool characters and sticking them into tough situations. It also had some epic battle scenes. As the Black Company inched its way toward the Shadowmaster’s fortress, the good managed to outweigh the bad. This was not the case for the book’s second half, despite some crowning moments of awesome. Not at all.

We left off last week’s post with the siege of Overlook about to begin. The Taglian legions raised and trained by Croaker and Lady invest the fortress. The great castle eventually falls not to starvation or the walls being thrown down, but to a coup de main. Overlook is so vast and so undermanned that Lady and her most loyal troops were able to secretly bore their way into its foundations and operate from within. After much planning (and magical scouting by Murgen), Lady is able to capture Longshadow.

Back in Taglios the Prince’s sister, the Radisha Drah, starts hunting down the Black Company’s allies. She has always feared the Company; now that Longshadow is defeated the time is ripe for its destruction. Having assumed a betrayal would come (as it always does for them), Croaker has readied the Company for the for the final trek to Khatovar.

The road to Khatovar lies to the south of Overlook, through something called the Shadowgate. From the gate come the shadows — deadly spectral things Longshadow and the Shadowmasters could control to a certain extent. Beyond the gate lies a great barren circular plain. From the gates (turns out there are more than one) are roads leading to the plain’s center, like the spokes of a wheel. And there stands a ruined fortress even greater than Overlook. Its inner courtyard measures nearly a mile across.

Certain the answer to where or what Khatovar is lies within, Croaker leads the core of the Black Company, along with its most important prisoners, — Longshadow, Howler, and Soulcatcher — into the ruins. But instead of answers, what lies behind the broken walls is a devastating trap. The book ends with the most important military commanders and veterans of the Black Company in stasis, and Soulcatcher racing back to Taglios in order to unveil some yet-undescribed scheme.

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Birthday Reviews: Kim Newman’s “Richard Riddle, Boy Detective in ‘The Case of the French Spy'”

Birthday Reviews: Kim Newman’s “Richard Riddle, Boy Detective in ‘The Case of the French Spy'”

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Cover by John Picacio
Cover by John Picacio

Kim Newman was born on July 31, 1959.

Newman won the Bram Stoker Award for his books Horror: 100 Best Books and Horror: Another 100 Best Books, both written with Stephen Jones. He won the British Fantasy Award for his collection Where the Bodies Are Buried and the British SF Association Award for his short story “The Original Mr. Shade.” His novel Anno Dracula won the Prix Ozone, the Lord Ruthven Award, and the International Horror Guild Award, with its sequel, The Blood Red Baron also winning the Prix Ozone and the short story “Coppola’s Dracula” winning the IHG Award. He has been nominated for the Sidewise Award five times, twice for works in his Anno Dracula series, twice for works co-written with Eugene Byrne in their Back in the U.S.S.R. series of stories, and once, with Paul McAuley, for their script for the Prix Victor Hugo, given at Intersection, the 53rd World Science Fiction Convention held in Glasgow.

“Richard Riddle, Boy Detective in ‘The Case of the French Spy’” was originally published in volume one of the anthology Adventure, edited by Chris Roberson in 2005 (there was no volume 2). Stephen Jones reprinted it in Summer Chills: Tales of Vacation Horror. Newman included it in his collection The Secret Files of the Diogenes Club, a series to which the story is loosely connected. Jones reprinted the story a second time in the anthology Weirder Shadows Over Innsmouth.

Dick, Violet, and Ernest are three kids growing up in Victorian England. To keep themselves occupied, Dick has formed the Richard Riddle Detective Agency, in which he solves minor crimes using Violet’s inquisitiveness and education and Ernest’s muscle. How real the crimes are is a matter of conjecture, and the kids admit that the majority of the “crimes” they solve were committed by their nemesis, Tarquin “Tiger” Bristow. The story is a tribute to the sort of boys adventure stories which flourished from the late nineteenth into the twentieth century.

The Case of the French Spy focuses on a fundamentalist minister, Daniel Sellwood, who comes to the kids’ attention when he destroys a large ammonite that Violet has found. Violet’s current interest is paleontology, but the anti-Darwinian Sellwood views fossils as being planted by the Devil to lead people astray, and therefore only fit for destruction. The members of the Detective Agency soon decide that Sellwood is either a smuggler or a spy and break into a tower that belongs to him, only to discover that his villainy goes much deeper than they had suspected.

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Birthday Reviews: Reginald Bretnor’s “Cat”

Birthday Reviews: Reginald Bretnor’s “Cat”

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Cover by Ed Emshwiller
Cover by Ed Emshwiller

Reginald Bretnor was born Alfred Reginald Kahn on July 30, 1911 and died on July 22, 1992.

Bretnor’s short story “Earthwoman” was nominated for the Nebula Award in 1968 and his story “The Gnurrs Come from the Voodvork Out” was nominated for a Retro Hugo in 2001. His non-fiction book Modern Science Fiction: Its Meaning and Its Future was nominated for a Retro Hugo in 2004. Bretnor may be best remembered for his series of short shaggy dog stories about Ferdinand Feghoot and published under the pseudonym Grendal Briarton, an anagram of Reginald Bretnor.

“Cat” was originally published in the April 1953 issue of The Magazine of Fantasy and Science Fiction, edited by Anthony Boucher and J. Francis McComas. It was translated into French as “Langue de chat” and published in 9th issue of Fiction in August 1954. Annette McComas included it in her 1982 anthology The Eureka Years and it was the first story in the Bretnor collection The Timeless Tales of Reginald Bretnor, edited by Fred Flaxman in 1997. The story also appeared in The Second Cat Megapack: Frisky Feline Tales, Old and New, edited by Robert Reginald and Mary Wickizer Burgess.

Reginald Bretnor’s title “Cat” refers less to the animal and more to the language spoken by those animals, which Dr. Emerson Smithby and his wife, Cynthia, not only claim to have learned, but also claim they can translate and teach. Their claims wreak havoc for Professor Christopher Flewkes, the head of the language department at Bogwood College, who must try to maintain the college’s reputation amidst Smithby’s spectacular claims and the other professors’ refusal to work in the same department as a man they view as a charlatan.

While “Cat” may not be as humorous as the Papa Schimmelhorn stories of the Feghoots for which Bretnor is best known, it does have its moments of humor as Flewkes and one of the professors in his department, Witherspoon, try to either expose Smithby or place him into compromising positions with the aid of a private investigator. In the end, their attempts to subvert Smithby and his wife prove to be their own undoing.

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Birthday Reviews: Forrest Aguirre’s “Matriarch”

Birthday Reviews: Forrest Aguirre’s “Matriarch”

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Cover by Lara Wells
Cover by Lara Wells

Forrest Aguirre was born on July 29, 1969.

Aguirre’s career began around the turn of the millennium with several short stories appearing in various magazines and several Wheatland Press projects. He co-edited Leviathan, Volume Three with Jeff VanderMeer, which earned them a nomination for the Philip K. Dick Award and won them a World Fantasy Award. He also edited Leviathan 4: Cities and Polyphony 7, the latter with Deborah Layne.

Aguirre wrote “Matriarch” for inclusion in the David Moles and Jay Lake edited All-Star Zeppelin Adventure Stories. The next year, Aguirre included the story in his collection Fugue XXIX.

“Matriarch” is a very short story, almost a vignette, which does not provide any real context for the story itself. It is set aboard a zeppelin which appears to have a crew of three: the titular pilot and her two crewmembers, LeFevre and LeBlanc. More important than setting or context is the story’s imagery. Aguirre describes the zeppelin in short terms, but they are evocative. The airship has clearly recently been in a battle and the losing forces, officials from the city below it, are dangling from ropes lowered from the zeppelin, skirting the heads of children in the city who have turned cannibal.

Even in their moment of triumph and riding above the ravenous throngs, the Matriarch and her crew don’t feel completely safe. LeFevre finds himself falling into the crowd below the zeppelin, and is killed and stripped clean by the children, almost as if he had fallen into a river swarming with piranhas. Losing LeFevre and the dangling officials to the cannibals allows the zeppelin to flee the scene of its victory and the carnage below, however, LeBlanc misreads the situation, much to his dismay.

There is little story and little setting in “Matriarch,” but Aguirre is fully able to describe the scenes through which the Matriarch zeppelin is flying. The imagery is almost cinematic in nature even if he doesn’t give too many specifics on what his characters, the city, or the airship look like. When he does deploy his expressive powers, Aguirre gets fully value.

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Godzilla: City on the Edge of Battle (2018) — Good Science Fiction, Not Great Godzilla

Godzilla: City on the Edge of Battle (2018) — Good Science Fiction, Not Great Godzilla

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Godzilla-City-Edge-Battle-Roadshow-PosterLast week was a significant one for the Big G. The first trailer for 2019’s Godzilla: King of the Monsters was unveiled at San Diego Comi-Con, displaying staggering scope and beauty set to the improbably perfect sound of Claude Debussy’s “Clair de lune.” Meanwhile, as fans salivated in anticipation of the next installment in the US Godzilla series after 2014’s Godzilla, the next Japanese Godzilla film made a quiet debut in North America via Netflix — Godzilla: City on the Edge of Battle (Gojira: Kessen Kido Zoshoku Toshi). It’s also a second installment: part two of a trilogy of animated Godzilla films from Toho Animation and Polygon Pictures that started with Godzilla: Planet of the Monsters.

I was roughly satisfied with Planet of the Monsters. It explored the theme of Godzilla as a deity and introduced intriguing science-fiction concepts, but it never found a solid adventure throughline for its apocalyptic Earth setting and left the potential of an animated Godzilla largely unrealized. City on the Edge of Battle makes forward strides as it deepens its SF backstory, now freed from having to go through the set-up that was necessary in the first movie. But as a Godzilla film, it still doesn’t work, and this makes me wonder exactly who the movie is targeted at. Godzilla fans? Anime fans? Science-fiction fans not-otherwise-specified? The last group may be the most satisfied, but I predict general dissatisfaction all around.

For those who came in late (and there’s no way to keep up with this movie unless you’ve seen Planet of the Monsters), here’s how events stood at the conclusion of Part One:

The remnants of the human race, in exile among the stars after Godzilla drove them off the Earth, choose to return to their homeworld and attempt to reclaim it from the monster. Although twenty years have passed on the refugee spaceship the Aratrum, over twenty-two thousand years have passed on Earth. Over the millennia, Godzilla’s biology has radically altered the ecosystem into a bizarre and hostile environment. With the assistance of two humanoid alien races, the mystical Exif and the technological Bilusaludo, the humans mount an offensive to destroy Godzilla. The plan of young Captain Haruo Sakaki succeeds — then immediately fails when it turns out the monster they killed (Godzilla Filius) was only an offspring of the original Godzilla that ravaged the planet (Godzilla Asu, “Godzilla Earth”). The true Godzilla emerges, grown in size and strength over thousands of years to unimaginable power. So was the fight all for nothing?

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Birthday Reviews: Jayge Carr’s “The Lady or the Tiger”

Birthday Reviews: Jayge Carr’s “The Lady or the Tiger”

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Cover by Jael
Cover by Jael

Jayge Carr was born Margery Ruth Morgenstern Krueger on July 28, 1940 and died on December 20, 2006.

In addition to her writing career, Carr worked as a nuclear physicist for NASA. Following her death from cancer, her remains were launched into orbit by Celestis.

“The Lady or the Tiger” was published by Charles C. Ryan in the Fall 1993 issue of Aboriginal Science Fiction after the magazine switched formats from a tabloid to a quarto format (standard magazine). The story has not been reprinted.

A missed stop of a city bus puts Alia in danger of being gang raped by a bunch of teenagers. When one of the teenagers momentarily objects, she is rescued by the timely arrival of the police, who take her savior into custody even as the other boys flee. In turn, Alia takes the boy under her wing and applies the Pygmalion treatment to him. However, as is quickly revealed, Alia is not what she appears and the situation is much more complex than anyone could guess.

All of Alia’s actions regarding Benny, as well as her responses to Rod O’Rourke, the police officer who first helped her and later wooed her, seem to be governed by a pair of aliens who are testing the humans. It eventually becomes evident that Alia is one of the aliens, trying to figure out if humans can subvert their own violent tendencies.

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Birthday Reviews: Gary Gygax’s “At Midnight Blackcat Comes”

Birthday Reviews: Gary Gygax’s “At Midnight Blackcat Comes”

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Cover by Dennis Kauth
Cover by Dennis Kauth

Gary Gygax was born Ernest Gary Gygax on July 28, 1938. He died on March 4, 2008. Although Gygax tried his hand writing fiction, he was best known as one of the creators of Dungeons and Dragons.

Gygax was inducted into the Origins Award Hall of Fame in 1980. In addition to Dungeons and Dragons (and Advanced Dungeons and Dragons) and various modules and accessories, Gygax also had a hand in creating the role playing games Boot Hill, Cyborg Commando, Dangerous Journeys, and Lejendary Adventure.

Gygax wrote “At Moonset Blackcat Comes” as an introduction to the character Gord the Rogue, about whom he had already written the novel Saga of the Old City, which would be published later. The story appeared first in the 100th issue of Dragon, edited by Kim Mohan. Accompanying the story were the rules to the game Dragonchess, described in the story. Although Gygax published a series of five Gord the Rogue novels, plus the short story collection Night Arrant, “At Moonset Blackcat Comes” was not included in the collection and has not been reprinted elsewhere.

The story introduces the main character and his barbarian companion while also trying to give the reader a feel for the way the City of Greyhawk, alluded to in many of Gygax’s AD&D articles and modules, is set up. Rather than exploring the city, however, Gygax quickly separates Gord from his companion and the city, setting the action, such as it is, in a sporting house, with Chert the barbarian going off to find female companionship while Gord settles in with Rexfelis to learn to play a chess alternative.

While Gygax is clearly trying to make Gord a likable character who is extremely competent and sure of himself, he comes across as arrogant, placing his own amusement and desires above those, like Chert, with whom he has surrounded himself. Although Gord is on guard against being taken in the game of Dragonchess, it is clear that Rexfelis had been playing Gord throughout the evening with the eventual end of using Gord to rob Rigello the arch-mage, a task Gord readily accepts.

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