Black Gate

Varney the Vampire or the Feast of Blood

In the six years that I’ve been writing for Black Gate (Mr. O’Neill says that my basement cubicle will be ready any day now and I’ll be able to stop working out of my car – oh, wait a minute… I just got a memo that says that due to the current crisis, not only will I be staying in my car, now I’ll be working from the trunk), I’ve written about a lot of books, and when selecting a volume to blather about I’ve had only two simple rules. When I write about a book, it must be one that I like, and it must be one that I have actually read.

I will admit to once or twice breaking the first rule; it can be a lot of fun teeing off on a bad book, seeing just how witty you can be at its expense. By and large, though, the Black Gate mission is a celebratory one. I think we all keep coming back here to find new things to love, not new things to hate, which are already being thrust upon us every minute of our lives.

As for the second rule, that might seem so obvious as to not need to be stated, but haven’t we all finished reading a review of some work we happen to be familiar with and thought, “There’s no way that reviewer can have actually read that book!” (That never happens here, of course.)

My friends, today you are privileged to be present at a historic event. I am now going to break both rules. I don’t like Varney the Vampire, and I make this judgment without having read it – or not read it completely, anyway. My Wordsworth paperback edition runs to 1,118 pages and my bookmark currently rests at page 541. Fine, you say; just push on and finish the thing and then say your peace. Well… I can’t. I just can’t.

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Cover art: uncredited (left) and FMA (right)

Robert Hoskins was a pretty familiar name on paperback racks in the 1970s. He was a senior editor at Lancer Books from 1969-1972, and during that time published and edited five volumes of the prestigious Infinity SF anthology series. Overall he edited over a dozen science fiction anthologies, including First Step Outward (1969), Swords Against Tomorrow (1970), and Against Tomorrow (1979). He also wrote ten novels, including three for Roger Elwood’s Laser imprint.

Between 1969-1979 he produced roughly 30 paperbacks, an extraordinary period of output. After 1979 he vanished, and frankly I don’t blame him. If I had to write and package 30 books in 10 years, I’d probably avoid the publishing industry for the rest of my life too. Hoskins died in 1993, and his eyes were probably still bloodshot. His entry in the Science Fiction Encyclopedia says “Hoskins’s books made no claims to be anything more than entertaining action adventures,” which I think is a fair assessment.

In 1972 and 1974 he produced two odd reprint anthologies, Wondermakers: An Anthology of Classic Science Fiction and Wondermakers 2. My best guess is that these were aimed at the academic market; a big clue is the ad on the back page encouraging Teachers, Librarians and School administrators to “Send for your free Fawcett catalog today!” The rather stiff intro by Robin Scott Wilson opens with “It has become commonplace for students of science fiction to assert the antiquity of the genre,” and that’s as far as I got before I dozed off. The text on the back covers (see scans below) drones on about “Science Fiction’s development” and something about “Man’s questioning, searching beyond the boundaries of his immediate present and into the future.” I’ve never seen books that sound so much like my high school English teacher in my entire life.

But setting aside the dull packaging, these are actually pretty interesting. How many anthologies do you know include Edgar Allan Poe, H. G. Wells, Rudyard Kipling, Arthur Conan Doyle, Theodore Sturgeon, and James Blish under one cover? That’s just the first one; Wondermakers 2 is even more intriguing.

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Talking Man (Avon, 1987). Cover by Jill Bauman

Terry Bisson is a brilliant short story writer. He’s published five collections, including Bears Discover Fire and Other Stories (1993), which contains one of my all-time favorite SF tales, “They’re Made out of Meat.” You can read the whole thing online here. Go ahead, it’s short. I’ll wait. Wasn’t that amazing? That killer last line!

Bisson has also written over a dozen SF novels. A fair number, but not so many that you can, you know, lose track of them. Presumably. So imagine my surprise last month when I’m minding my own business, surfing paperback collections on eBay (as one does), when I glimpse the slender spine of something that looks like “Talking Man” by Terry Bisson.

What the heck was Talking Man? I’d never heard of it. To add insult to injury, a simple internet search revealed that this was a highly regarded novel — and a major oversight for a self-described Bisson fan such as myself. It was nominated for the World Fantasy Award, and Publishers Weekly gave it a warm review back in 1986, saying  (in part):

Having dreamt this world into being, the wizard called “Talking Man” falls in love with what he has made and retires there. He lives in a house trailer on a Kentucky hillside close by his junkyard, and he only uses magic on the rare occasions he can’t fix a car the other way. He’d be there still if his jealous codreamer Dgene hadn’t decided to undo his creation and return this world to nothingness. Talking Man lights out to stop her… The geography shimmers and melts, catfish big as boats are pulled from the Mississippi, the moon crumbles into luminous rings and refugees from burning cities choke the highways… fantastic and gothic… very entertaining.

Even Jo Walton raved about this book, at some length, over at Tor.com. Damn it, does the whole world know about this novel but me? Apparently.

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Imaginary Lands (Ace Books, 1985). Cover by Thomas Canty

By 1985 Robin McKinley was already a star. Her breakout novel The Blue Sword (1982) was a nominee for both the Mythopoeic Award and the Newbery Medal, and two years later The Hero and the Crown (1984) won the Newbery Medal, one of the most coveted accolades in children’s literature. If there was a hotter new writer in the field at the time, I can’t think of her.

In 1982 Ace Books had published her successful collection The Door in the Hedge, and in 1985 McKinley approached them with a different idea: an original anthology of secondary world fantasy tales, with contributions primarily from newer writers. Patricia A. McKillip, whose Riddle-Master trilogy had been a significant hit in the 70s; Joan D. Vinge, whose 1980 novel The Snow Queen had won a Hugo; P. C. Hodgell, whose 1982 debut novel God Stalk became a cult classic; modern master James P. Blaylock, whose career was just getting started with The Elfin Ship (1982) and The Disappearing Dwarf (1983); popular YA author Robert Westall; and McKinley’s husband Peter Dickinson, author of The Changes Trilogy, among others.

Imaginary Lands was a doozy, winning the World Fantasy Award and helping cement McKinley’s reputation. It contained some of the year’s best fantasy, including Blaylock’s famous story “Paper Dragons” (a Nebula nominee and winner of the World Fantasy Award), and “Flight,” by Peter Dickinson, a World Fantasy Award nominee for Best Novella. Imaginary Lands was a paperback original, and was successful enough to be re-released in hardcover in 1986 for the library market by Greenwillow. It had a UK release from Orbit in 1987, but that was the end of its short literary life. It’s a classic volume of fantasy that’s been out of print for over three decades, and never had a digital release.

I think that’s a shame. There are a lot of things I like about modern publishing, but the slow death of the mass market anthology isn’t one of them. It’s just not economical to bring books like this back into print, and certainly not as cheap paperbacks, and that means modern readers will probably never learn about this book. Unless folks like me champion it, and point out that you find buy copies online at criminally low prices — like the one above, a virtually new copy which I bought on eBay for less than two bucks back in January.

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