Concerned by Moral Imperatives: An Interview with D.G. Compton

Concerned by Moral Imperatives: An Interview with D.G. Compton

D.G.-Compton-Ace-paperbacks-medium

D.G. Compton’s early Ace paperbacks. Covers by Leo and Diane Dillon.

David Guy Compton came to prominence in science fiction in 1968 with the publication of Synthajoy in the prestigious Ace Specials series edited by Terry Carr, although it was actually his second Ace book, preceded by The Silent Multitude (1966) This was quickly followed by The Quality of Mercy (1970), The Steel Crocodile (1970), Chronocules (1970), Farewell Earth’s Bliss (1971; published in England in 1966) The Missionaries (1972). DAW then brought out The Unsleeping Eye (1974), which was published in England as The Continuous Katherine Mortenhoe and filmed as Death Watch. Windows (1979) and Ascendancies (1980) followed from Berkley, after which he tended to fade from the American publishing scene, although his work, notable for its unflinching intensity and mature treatments continues to command respect. His novels with the preoccupation with the impact of media on individual lives were in many ways well ahead of their time. The Unsleeping Eye, for instance, is about a report who has television cameras implanted in his eye, so that he can film the last days of a dying woman for a voyeuristic audience of what we would today call “reality TV” addicts.

This interview was recorded at the Nebula Awards weekend in New York, May 12, 2007, where Compton was present to receive SFWA’s Author Emeritus award. It originally appeared in The New York Review of Science Fiction, December 2007, and was reprinted in Speaking of the Fantastic III (2011).


You’ve mentioned that you have a new book coming out —

Oh, I did not say that. I have written a new book. Whether it is coming out or not is another matter. I already have a couple science fiction novels that haven’t been published over here anyway. And to make matters worse, this book isn’t even science fiction. So I have few hopes that it will actually be published. It was just something I had to do.

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Future Treasures: Warhammer Horror: The Wicked and the Damned by Josh Reynolds, David Annandale, and Phil Kelly

Future Treasures: Warhammer Horror: The Wicked and the Damned by Josh Reynolds, David Annandale, and Phil Kelly

The Wicked and the Damned-smallFive years ago, when I was commuting to Glenview and in the car three hours a day, I got hooked on Warhammer 40K audio books. My favorites were the Horus Heresy volumes, especially Ben Counter’s epic tale of betrayal and revenge Galaxy in Flames, but I devoured them all.

I take the train these days, and don’t keep up on the unfolding drama in the dark days of the 40th Millennium the way I used to, but I still pay attention when I can. So I was very intrigued to hear about the launch of Warhammer Horror, a new line of books and audio plays (wait… like the current line isn’t dark enough??) It arrives next month with three launch titles, the short-story anthology Maledictions, an audio drama titled Perdition’s Flame, and a collaborative novel titled The Wicked and the Damned, from three stars of the Warhammer stable. That last one is the one that really interests me, and mostly because of this description:

A chilling mosaic novel by masters of their craft.

On a misty cemetery world, three strangers are drawn together through mysterious circumstances. Each of them has a tale to tell of a narrow escape from death. Amid the toll of funerary bells and the creep and click of mortuary-servitors, the truth is confessed. But whose story can be trusted? Whose recollection is warped, even unto themselves? For these are strange stories of the uncanny, the irrational and the spine-chillingly frightening, where horrors abound and the dark depths of the human psyche is unearthed.

“A chilling portmanteau. I could feel the hairs on the back of my neck prickling. The perfect combination of horror and Warhammer 40,000.” – Paul Kane.

Josh Reynolds wrote the popular Nightmare Men series on occult detectives here at Black Gate, David Annandale is the author of the Yarrick series and a contributor to The Beast Arises, and Phil Kelly is the man behind War of Secrets and Crisis of Faith.

The Wicked and the Damned will be published by Warhammer Horror on April 2, 2019. It is 400 pages, priced at $16 in trade paperback. No word on a digital version yet. See all our previous Warhammer coverage here.

Hither Came Conan: Jason Durall on “Xuthal of the Dusk”

Hither Came Conan: Jason Durall on “Xuthal of the Dusk”

John Buscsema - Savage Sword of Conan - Issue #20
John Buscsema – Savage Sword of Conan – Issue #20

Welcome back to the latest installment of Hither Came Conan, where a leading Robert E. Howard expert examines one of the original Conan stories each week, highlighting what’s best. Jason Durall is the line editor for Modiphius’ RPG, Conan: Adventures in an Age Undreamed Of.

Xuthal of the Dusk on 25 Lunas a Day

Of all of Howard’s Conan stories, “Xuthal of the Dusk” is one of his most emblematic, regardless of its quality compared to the other. If one were to assemble a tasting menu of Conan containing all his recurring themes and story elements, one could look no further than this story and come away with a good sense of the whole. With only one glaringly weak point, the story is an underappreciated gem and worth reconsidering in its place among the overall canon.

First appearing in the September 1933 issue of Weird Tales under the title “The Slithering Shadow”, the story, like many of Howard’s tales, was graced with an extremely risqué cover by Margaret Brundage, no small contributor to the magazine’s sales (more on this later). Though the story’s published title was “The Slithering Shadow”, Howard, in a letter to Clark Ashton Smith, clarifies that its original title was “Xuthal of the Dusk”. Given a choice between the title the story was written under versus a title provided by the editor, let us remain true to Howard’s preference in the matter.

“Xuthal of the Dusk” may not be the best of the Conan stories, but it is one of the purest Conan stories. Let’s examine all the notes this story hits, and this should become clear.

 

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The Golden Age of Science Fiction: Douglas Adams

The Golden Age of Science Fiction: Douglas Adams

Douglas Adams
Douglas Adams

Pat Terry was an Australian fan who was born in the mid-1880 and died in 1970. The Sydney Science Fiction Foundation established an award in his name to recognize Humour in science fiction. The award was only presented 8 times over the course of 12 years, from 1970, when it was given to John Sladek for Mechasm until 1982, when it was presented to Randall Garrett. Despite being an Australian Award, in 1971 and 1980, the award was presented at the Worldcon, which happened to be in Boston both of those years. The 1980 award, for work done in 1979, was presented to Douglas Adams for The Hitchhiker’s Guide to the Galaxy and was accepted on his behalf by Chris Priest at Noreascon II.

Douglas Adams was born on March 11, 1952. He attended Cambridge, where he formed a comedy troupe called Adams-Smith-Adams with Will Adams and Martin Smith before becoming a member of the Footlights. His work with Footlights brought him to the attention of Graham Chapman, and the two wrote a few sketches together, with Adams being one of only two non-Pythons to receive a writing credit on Monty Python’s Flying Circus. Adams would also later contribute to Chapman A Liar’s Autobiography.

I first became aware of Douglas Adams in the late 1970s when I received recordings of The Hitchhiker’s Guide to the Galaxy radio show sometime between the first series and the second series, before the publication of the first book based on them. By that time, of course, I had already seen some of his work on Monty Python’s Flying Circus.

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Higher, Further, Faster: Captain Marvel

Higher, Further, Faster: Captain Marvel

Captain Marvel (Brie Larson)

I just came back from watching Captain Marvel with my 14-year old son. He was super excited to see it. He hasn’t yet maxed out on superhero movies like his dad. That being said, I was also pretty hyped to see it, in part because Captain Marvel was one of the comics I first started collecting when I was eleven and twelve years old. Back then, I was reading the Mar-Vell version, but I also picked up some Claremont/Cockrum Ms. Marvel because of Captain Marvel and because Carol Danvers was a regular in the Uncanny X-Men at the time.

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Elizabeth Bear on 8 Forgotten SFF Classics of the ’70s and ’80s

Elizabeth Bear on 8 Forgotten SFF Classics of the ’70s and ’80s

Diadem from the Stars Jo Clayton-small Sorcerer’s Son Phyllis Eisenstein-small Dreamsnake Vonda McIntyre-small The Idylls of the Queen Phyllis Ann Karr-small

Elizabeth Bear speaks my language.

Over at Tor.com last month, she holds forth on my favorite topic — vintage science fiction and fantasy paperbacks. In a survey of 8 Forgotten SFF Classics of the ’70s and ’80s, she tells tales of a handful of forgotten (and a few even more forgotten) genre classics, including Jo Clayton’s Diadem from the Stars (DAW, 1977), which she compares to Jack Vance.

There’s a girl in a profoundly misogynous society, whose mother was an offworlder. She gets her hands on a powerful alien artifact that she doesn’t know how to use, and makes her escape. This is a feminist revisioning of the planetary romance, and it shows the influence of Jack Vance and similar authors — the lone wanderer in a post-technology barbaric world that hovers somewhere between magic and superscience.

Definitely on the grimdark side, this might appeal to fans of N.K. Jemisin’s Broken Earth trilogy.

When I posted this on Facebook last month, I got a number of enthusiastic comments from Black Gate readers. Charlene Brusso wrote:

Yes! Jo Clayton’s Moongather series and the Diadem series are both worth revisiting. One of the few writers I can go back and reread and not be disappointed.

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Golden Age of Science Fiction: The 1973 Nebula and Hugo Award for Best Novelette: “Goat Song,” by Poul Anderson

Golden Age of Science Fiction: The 1973 Nebula and Hugo Award for Best Novelette: “Goat Song,” by Poul Anderson

Magazine of Fantasy and Science Fiction February 1972-small Magazine of Fantasy and Science Fiction February 1972-back-small

Cover by Bert Tanner

Steven Silver has been doing a series covering the award winners from his age 12 year, and Steven has credited me for (indirectly) suggesting this, when I quoted Peter Graham’s statement “The Golden Age of Science Fiction” is 12, in the “comment section” to the entry on 1973 in Jo Walton’s wonderful book An Informal History of the Hugos. You see, I was 12 in 1972, so the awards for 1973 were the awards for my personal Golden Age. And Steven suggested that much as he is covering awards for 1980, I might cover awards for 1973 here in Black Gate.

Poul Anderson (1926-2001) was one of the leading SF and Fantasy writers of the last half of the 20th Century. He won the Hugo Award no fewer than seven times for his short fiction, twice taking the Nebula for the same story. He was named an SFWA Grand Master in 1998, he also won the Gandalf Award as Grand Master of Fantasy, and he received numerous other awards including the Mythopeic Award and the Prometheus Award. His best known novel might be Tau Zero (which finished second for the Hugo in 1971). His extended Future History sequence collectively called the Technic Universe probably represents his best-known and best-received set of stories, and his most famous characters, Nicholas Van Rijn and Dominic Flandry, appear in that series.

“Goat Song” is a pure standalone story, not part of any series. It appeared in F&SF for February 1972. As noted in the title of this essay, it won both the Hugo and Nebula for Best Novelette. I would have read it first in Nebula Award Stories 8. At the time I remember being tremendously impressed, but on this most recent rereading its force had diminished. (I reread it in my paperback edition of Anderson’s very fine 1975 collection Homeward and Beyond, which includes one very significant and lesser known story, the historical “The Peat Bog.”)

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New Treasures: The Wormwood Trilogy by Tade Thompson

New Treasures: The Wormwood Trilogy by Tade Thompson

Rosewater Tade Thompson-small The Rosewater Insurrection Tade Thompson-small The Rosewater Redemption-small

Tade Thompson’s second novel Rosewater was one of the more intriguing books published last year. Here’s a snippet from Ross Johnson’s rave review at the B&N Sci-fi & Fantasy blog, which labeled it “a groundbreaking future noir.”

In the Nigeria of the mid-21st century, a makeshift town has sprung up around a mysterious dome that inexplicably appeared there some time in the recent past. Though the structure is alien in origin, its purpose is unclear—its influences can be malign, but also dramatically beneficial. Approximately once a year, people come from far and wide to take advantage of the healing powers released by the structure, but the effects aren’t entirely predictable, and sometimes leave pilgrims mangled and malformed — and those who die are left vulnerable to soulless reanimation. Still, HIV and cancer are completely curable in this altered world, and that alone makes the journey worth the risk.

This is all the backdrop for the story of Kaaro, a former thief and sometimes rogue government agent, first recruited for his unique sensitivity to the minds of others. For in the new world of the dome, a small portion of humans have developed empathic and telepathic powers, to greater and lesser degrees, and Kaaro is near the top of the scale. As a young man, he used his abilities to hunt down his neighbors’ valuables. As an adult, he’s tasked with interrogating subversives and potential public enemies, even as turbulent political waters leave those categories clouded.

Though generally mercenary in his considerations, Kaaro is ultimately pushed too far by his handlers in Section 45, threads of classic noir run thread through the story. A reluctant hero (when he’s being heroic at all), there’s a strong sense throughout that Kaaro’s sins and flaws might ultimately be his undoing…  It is, on one level, an engaging future noir about a flawed protagonist falling into the role of reluctant hero while coming to grips with an alien mystery, and that alone would make for a solid read. But Thompson’s ambitions are greater, and alongside the complex puzzles and multiple mysteries, he has a great deal to say about the ways in which individuals, whatever their nations of origin, respond to oppressive governments.

The second volume in what’s now being called The Wormwood Trilogy will be published next week in trade paperback from Orbit; and the final book arrives just six months later. Here’s the description for both.

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In 500 Words or Less: Two New Anthologies! New Suns and Resist

In 500 Words or Less: Two New Anthologies! New Suns and Resist

New Suns Original Speculative Fiction by People of Color-small Resist Tales from a Future Worth Fighting Against-small

New Suns: Original Speculative Fiction by People of Color
Edited by Nisi Shawl
Solaris (384 pages, $15.99 paperback, March 2019)

Resist: Tales from a Future Worth Fighting Against
Edited by Gary Whitta, Christie Yant and Hugh Howey
Independently published (386 pages, $14.99 paperback, $7.99 eBook, October 19, 2018)

I’ve never been a fan of predictions about the time we live in, especially if they’re grandiose, but damn if someone doesn’t claim decades from now that today was a new golden age of SFF, especially in short fiction. Sure, there’s still a lot of the same generic crap being published (for some reason), but simultaneously there’s so much compelling, engaging work coming out that I can’t keep up.

Take, for example, New Suns: Original Speculative Fiction by People of Color, edited by Nisi Shawl. A few of the names I recognized in here, but so many of them I had never heard of before, which I imagine is part of the point. “Harvest” by Rebecca Roanhorse is dark and delicate as it explores a relationship between a chef and a supernatural being called the “deer woman.” Jaymee Goh’s “The Freedom of the Shifting Sea” provides soft undertones about industrial development and environmental destruction, while Tobias S. Buckell doesn’t mince any of that with his depiction of an Earth bulldozed by aliens looking for resorts and tourist traps in “The Galactic Tourist Industrial Complex.” But the one that really blew me away was Minsoo Kang’s “The Virtue of Unfaithful Translations,” written as a treatise about a painting that tells the tale of a peace treaty concocted by two translators. I’m not sure that sounds captivating, but I promise you, it is.

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Goth Chick News: As If Reliving Your Childhood Wasn’t Horror Enough…

Goth Chick News: As If Reliving Your Childhood Wasn’t Horror Enough…

Goth Chick Banana Splits

Long before doctors decided that television as an electronic babysitter was probably not the best idea, an entire generation of kids grew up thinking Sesame Street was a real place and dreaming of solving mysteries with friends and a Great Dane from the back of a psychedelic minivan. And if you weren’t old enough to catch all this TV goodness the first time around, the after-school reruns continued through nearly three generations via local cable access channels, The Cartoon Network and YouTube.

A particularly trippy offering called The Banana Splits originally aired on NBC from 1968 to 1970 and has since become famous for both being unintentionally creepy and resembling a bad acid trip. The classic children’s variety show, whose full name was The Banana Splits Adventure Hour, teamed executive producers William Hanna and Joseph Barbera with Sid and Marty Krofft, who designed the costumes for the show’s four main characters, Fleegle the beagle, Bingo the gorilla, Drooper the lion and Snorky the elephant. The Krofft brothers then went on to produce other 70’s favorites such as H.R. Pufnstuf and The Donny and Marie Hour along with a host of others. Hanna Barbera were already children’s entertainment icons, giving birth to Hanna Barbera Studios which was ultimately absorbed into Warner Brothers Animation.

Some people suggested that the Krofft brothers were influenced by marijuana and LSD, although they have always denied these claims. In a 2005 interview with USA Today, Marty Krofft said, “No drugs involved. You can’t do drugs when you’re making shows. Maybe after, but not during. We’re bizarre, that’s all.” Referring to the alleged LSD use, Marty said in another interview, “That was our look, those were the colors, everything we did had vivid colors, but there was no acid involved. That scared me. I’m no goody two-shoes, but you can’t create this stuff stoned.”

Okay, we’ll take their word for it but looking back, The Banana Splits was more than subtly frightening, which makes the idea of adapting it into a horror flick quite inspired.

Yep, you read that right – The Banana Splits is being made into a horror movie.

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