Black Gate

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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World’s Best Science Fiction First Series (Ace Books, 1970). Cover by Jack Gaughan

If you want to understand science fiction, it’s not a bad idea to start by reading Year’s Best volumes. And if you’re going to do that, it’s not a bad idea to start with the World’s Best Science Fiction, edited by Donald A. Wollheim and Terry Carr, an annual series that began in 1965 and lasted for an amazing 26 volumes. The last of which, The 1990 Annual World’s Best SF, appeared four months before Wollheim’s death at the age of 76.

The series survived both editorial changes and a switch in publishers (from Ace to DAW, in 1972), and was one of the only Year’s Best series to receive multiple paperback reprints. In fact, for collectors like me, its publication history is all rather confounding. Follow along while I try and figure it all out.

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Memories (Bantam Spectra Special Edition, August 1989). Cover by Will Cormier

Mike McQuay published his first SF novel, Lifekeeper, in 1980, and he died just fifteen years later, in May 1995. But in that decade and a half he enjoyed an impressive career as a science fiction and fantasy novelist.

He made his mark writing men’s adventure with a light SF twist, starting with the Mathew Swain (“The 21st Century Private Eye”) series, the covers of which unfailingly featured our hero clutching one of three essential tools of the trade: a pistol, a cigarette, or a slender young woman (frequently several at once). They began with Hot Time in Old Town (1981), which proudly bore the cover blurb “Can a hard-boiled private eye beat the odds in the back alleys of tomorrow?” That same year he was selected to write the novelization for John Carpenter’s cinematic masterpiece Escape From New York, and you can sorta see the connection.

Just six years later McQuay published Memories, which signaled a significant evolution as a writer. It was nominated for the Philip K. Dick Award for distinguished science fiction paperback, and began a period when McQuay was taken much more seriously. His next book The Nexus — which Joe Bonadonna called ‘brilliant’ in his Black Gate review — was released as part of Bantam Spectra’s prestigious Spectra Special Edition line in 1989.

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