Friday, December 31, 2004

2004: The Year in Books

(Made up of items from 2004 and other items reconstructed from memory due to loss of original post!)

In 2004 I started to move from just posting titles and the occasional review to trying to review everything I read. I can't say that I'm there yet; sometimes I just don't feel like writing and review and sometimes life takes precedence (hence the backlog this year!). But, as you'll see from the number of links here, I did more book (and story!) reviews in 2004 than any year previous.

During this period I was working seven days a week. So I would have a lot of time to read. However, I had limited access to the computer, so would let the books pile up instead of jotting notes, composing reviews, etc. That led to a big crunch in December where I tried to review as much as possible. You'll see that when it came to short stories, there were a number of books that I read...but did not review individual stories in. Time ran out!

Ah well, I'll read them all again, someday. And then I'll fill in the blanks and write more reviews!

Best books that I read this year: Tied for first place were Revelation Space and Redemption Ark by Alastair Reynolds as well as Going for Infinity by Poul Anderson. Tied for second place were Newton's Wake by Ken MacLeod and Quicksilver by Neal Stephenson.

Book count: 122. See also the 2004 Short Story Project.

Poul Anderson: For Love and Glory. Going for Infinity.

Tom Swift, Jr. by "Victor Appleton, II": Tom Swift on the Phantom Satellite (Grosset & Dunlap, 1956). Tom Swift and His Ultrasonic Cycloplane (Grosset & Dunlap, 1957). Tom Swift and His Deep-Sea Hydrodome (Grosset & Dunlap, 1958). Tom Swift in the Race to the Moon (Grosset & Dunlap, 1958). Tom Swift and His Space Solartron (Grosset & Dunlap, 1958). Tom Swift and His Electronic Retroscope (Grosset & Dunlap, 1959).

Isaac Asimov: In Memory Yet Green. In Joy Still Felt. Foundation. Foundation and Empire. Second Foundation. The Complete Robot (Doubleday, 1982). Murder at the ABA (Doubleday, 1976).

Wayne Barlowe: The Alien Life of Wayne Barlowe and Barlowe's Guide to Extraterrestrials.

Stephen Baxter: Phase Space (HarperCollins, 2002).

Gregory Benford: In the Ocean of Night (WarnerAspect, 2004).

Ben Bova: Sam Gunn, Unlimited.

Ben Bova (editor): The SF Hall of Fame, Volume IIA (Avon, 1974). The SF Hall of Fame, Volume IIB (Avon, 1974).

Mark Bowden: Black Hawk Down (Atlantic Monthly Press, 1999).

Ray Bradbury: From the Dust Returned.

Michael Cabbage and William Harwood: Comm Check...The Final Flight of Shuttle Columbia (Free Press, 2004).

Eleanor Cameron: The Wonderful Flight to the Mushroom Planet (Little, Brown, 1954). Stowaway to the Mushroom Planet (Little Brown, 1956). Mr. Bass's Planetoid (Little, Brown, 1958).

John W. Campbell, Jr.: The Black Star Passes.

John W. Campbell, Jr. (editor): The Astounding Science Fiction Anthology (Simon & Schuster, 1952).

C.J. Cherryh: The Kif Strike Back. Chanur's Venture.

Tracy Chevalier: Girl With A Pearl Earring.

Arthur C. Clarke: Greetings, Carbon-Based Bipdeds! Collected Essays 1934-1998. The View from Serendip. Prelude to Space. Sands of Mars. The City and The Stars. The Songs of Distant Earth.

Samuel R. Delany: The Jewels of Aptor. The Einstein Intersection. The Motion of Light in Water. Aye, and Gomorrah and Other Stories. Distant Stars.

Gardner Dozois (editor): The Good Old Stuff: Adventure SF in the Grand Tradition (St. Martin's Griffin, 1998). The Good New Stuff: Adventure SF in the Grand Tradition (St Martin's Griffin, 1999).

Freeman Dyson: Disturbing the Universe (Harper & Row, 1981).

Harlan Ellison: Vic & Blood (artwork by Richard Corben) (iBooks, 2003).

M.C. Escher: The World of M.C. Escher.

Matt Eversmann & Dan Schilling (editors): The Battle of Mogadishu: Firsthand Accounts from the Men of Task Force Ranger (Ballantine, 2004).

Timothy Ferris: Seeing in the Dark: How Backyard Stargazers Are Probing Deep Space and Guarding Earth from Interplanetary Peril (Simon & Schuster, 2002).

Alan Dean Foster: Nor Crystal Tears (Del Rey, 1982). Phylogenesis (Del Rey, 1999).

Tommy Franks and Malcolm McConnell: American Soldier (Regan Books, 2004).

Neil Gaiman: Coraline.

James Gunn (editor): Astounding Stories: The 60th Anniversary Collection (three volumes).

Karen Haber: Meditations on Middle-Earth.

David M. Harland & John E. Catchpole: Creating the ISS (Springer-Praxis, 2002).

Robert A. Heinlein: Stranger in a Strange Land. Rocket Ship Galileo (Scribners, 1947). Space Cadet (Scribners, 1949). Between Planets (Scribners, 1951). Farmer in the Sky (Scribners, 1951). Starman Jones (Scribners, 1953).

Gene Kranz: Failure Is Not An Option: Mission Control from Mercury to Apollo 13 and Beyond (Simon & Schuster, 1999).

Alan Lee: Tolkien's World—Paintings of Middle-Earth.

Fritz Leiber: Ill Met In Lankhmar (made up of Swords and Deviltry and Swords Against Death) (White Wolf Publishing, 1995). Lean Times in Lankhmar (made up of Swords in the Mist and Swords Against Wizardry) (White Wolf Publishing, 1996). Return to Lankhmar (made up of The Swords of Lankhmar and Swords and Ice Magic) (White Wolf Publishing, 1997). Farewell to Lankhmar (made up of The Knight of Knaves and Swords) (White Wolf Publishing, 1998). Gather, Darkness! (Ballantine, 1975).

Murray Leinster: The Wailing Asteroid (Ace, 1960).

Ken MacLeod: Newton's Wake (Tor, 2004).

Tim McElyes: A Vision of Future Space Transportation: A Visual Guide to Future Spacecraft Concepts (Apogee Books, 2003).

Alan E. Nourse: Scavengers in Space.

William R. Pogue: How Do You Go To the Bathroom in Space? (TOR, 1999)

Mark Pendergrast: Uncommon Grounds: The History of Coffee and How It Transformed Our World (Basic Books, 1999).

Alastair Reynolds: Revelation Space (Ace, 2001). Redemption Ark (Ace, 2003).

Rudy Rucker: Seek!.

Carl Sagan: The Cosmic Connection. Other Worlds (Bantam, 1975).

K.H. Scheer & Walter Ernsting: Perry Rhodan: Enterprise Stardust/The Third Power.

Frank Seitzen, Jr. & Keith L. Cowing: New Moon Rising: The Making of America's New Space Vision and the Remaking of NASA (Apogee Books, 2004).

Charles Sheffield: Summertide (Book One of the Heritage Universe, one half of Convergence, Baen Books, 1998).

Robert Silverberg (editor): The Science Fiction Hall of Fame, Volume I.

E.E. "Doc" Smith: Gray Lensman (Old Earth Books, 1998).

Allen E. Steele: Sex and Violence in Zero-G (Meisha Merlin, 1999).

Neal Stephenson: Quicksilver.

Scott P. Sullivan: Virtual Apollo (Apogee Books, 2002) and Virtual LM (Apogee Books, 2004).

Travis S. Taylor: Warp Speed.

Lewis Thomas: The Lives of a Cell.

J.R.R. Tolkien: Bilbo's Last Song (Knopf, 2002). The Hobbit. The Fellowship of the Ring (Houghton Mifflin, 2001).

Harry S. Truman (edited by Ralph Keyes): The Wit & Wisdom of Harry Truman (Gramercy Books, 1999).

United States Marine Corps: A Book on Books.

John Varley: The Persistence of Vision (Dell, 1979). The Barbie Murders (Berkley, 1980). Blue Champagne (Berkley, 1986). The John Varley Reader (Ace, 2004). Red Thunder (Ace, 2003).

T.K.F. Weisskopf (editor): Cosmic Tales: Adventures in Sol System (Baen, 2004) (review of a later reading here).

Mark Whittington: Children of Apollo.

Winston SF (click on the link for some details): The World at Bay (Paul Capon) (1954). Islands in the Sky (Arthur C. Clarke) (1952). Attack from Atlantis (Lester Del Rey) (1958). Step to the Stars (Lester Del Rey) (1954). Mission to the Moon (Lester Del Rey) (1956). Trouble on Titan (Alan E. Nourse) (1954). Missing Men of Saturn (Philip Latham) (1953).

Makoto Yukimura: Planetes #01 (Tokyopop, 2003). Planetes #02 (Tokyopop, 2003). Planetes #03 (Tokyopop, 2004). Planetes #04a (Tokyopop, 2004). Planetes #04b (Tokyopop, 2004).

Robert Zubrin: Mars on Earth: The Adventures of Space Pioneers in the High Arctic (Penguin, 2003).
2004: The Year in Shorts

This was my first attempt to read a story a day. I more than exceeded the goal, even though I didn't start the project until about halfway through the year.

Count for the year (through December 31, 2004): 543 entries (final count, as far as I know!).

Poul Anderson: Going for Infinity (18 entries, collection complete).

Stephen Baxter: Phase Space (HarperCollins, 2002) (25 entries, collection completed).

Gregory Benford:
In the Ocean of Night (WarnerAspect, 2004) (8 entries, collection—a "fixup" novel—completed).

Ben Bova: Sam Gunn, Unlimited (9 entries, collection completed).

Ben Bova (editor): The SF Hall of Fame, Volume IIA (Avon, 1974) (12 entries, collection completed). The SF Hall of Fame, Volume IIB (Avon, 1974) (12 entries, collection completed).

Ray Bradbury: From the Dust Returned (25 entries, collection completed).

John W. Campbell, Jr.: The Black Star Passes (3 entries, collection completed).

John W. Campbell, Jr. (editor): The Astounding Science Fiction Anthology (Simon & Schuster, 1952) (24 entries, collection completed).

Arthur C. Clarke: Greetings, Carbon-Based Bipeds! (59 entries, collection completed). The View from Serendip (25 entries, collection completed).

Samuel R. Delany: Aye, and Gomorrah and Other Stories and Distant Stars (counts as 18 entries between the two, both collections completed).

Gardner Dozois (editor): The Good Old Stuff: Adventure SF in the Grand Tradition (St. Martin's Griffin, 1998) (17 entries, collection completed). The Good New Stuff: Adventure SF in the Grand Tradition (St Martin's Griffin, 1999) (18 entries, collection completed).

Harlan Ellison: Vic & Blood (artwork by Richard Corben) (iBooks, 2003) (4 entries, collection completed).

James Gunn (editor): Astounding Stories (60th Anniversary Edition, three volumes) (21 stories, collection completed).

Karen Haber (editor): Meditations on Middle-Earth (17 entries, collection completed).

Fritz Leiber: Ill Met in Lankhmar (Swords and Deviltry and Swords Against Death) (White Wolf Publishing, 1995) (15 entries, collection complete). Contains: Induction; The Snow Women; The Unholy Grail; Ill Met in Lankhmar; The Circle Curse; The Jewels in the Forest; Thieves' House; The Bleak Shore; The Howling Tower; The Sunken Land; The Seven Black Priests; The Claws from the Night; The Price of Pain-Ease; Bazaar of the Bizarre.

Fritz Leiber: Lean Times in Lankhmar (Swords in the Mist and Swords Against Wizardry) (White Wolf Publishing, 1996) (10 entries, collection complete). Contains: The Cloud of Hate; Lean Times in Lankhmar; Their Mistress, The Sea; When the Sea-King's Away; The Wrong Branch; Adept's Gambit; In the Witch's Tent; Stardock; The Two Best Thieves in Lankhmar; The Lords of Quarmall.

Fritz Leiber: Return to Lankhmar (The Swords of Lankhmar and Swords and Ice Magic) (White Wolf Publishing, 1997) (9 entries, collection complete). Contains: The Swords of Lankhmar (novel); The Sadness of the Executioner; Beauty and the Beasts; Trapped in the Shadowland; The Bait; Under the Thumbs of the Gods; Trapped in the Sea of Stars; The Frost Monstreme; Rime Isle.

Rudy Rucker: Seek! (32 entries, collection complete).

Carl Sagan: The Cosmic Connection (43 entries, collection completed).

Robert Silverberg (editor): The Science Fiction Hall of Fame, Volume I (25 entries, collection completed).

Allen E. Steele: Sex and Violence in Zero-G (Meisha Merlin, 1999) (19 entries, collection complete).

Lewis Thomas: The Lives of a Cell: Notes of a Biology Watcher (29 entries, collection completed).

John Varley: The Persistence of Vision (Dell, 1979) (3 stories not found in other Varley collections, collection completed). The Barbie Murders (Berkley, 1980) (6 stories not found in other Varley collections, collection completed). Blue Champagne (Berkley, 1986) (3 stories not found in other Varley collections, collection completed). The John Varley Reader (Ace, 2004) (20 entries, collection complete).

T.K.F. Weisskopf (editor): Cosmic Tales: Adventures in Sol System (Baen, 2004) (14 entries, collection completed) (review of a later reading here).
Meditations on Middle-Earth

Karen Haber (editor): Meditations on Middle-Earth (St. Martin's Griffin, 2002)

One of the books I read this year about J.R.R. Tolkien was Meditations on Middle-Earth, edited by Karen Haber. It was mostly a disappointment for two reasons. It's a collection of essays by folks, mostly fantasy authors, and how they feel about The Lord of the Rings. Some essays are good, such as the one by Poul Anderson. But most are around the level of what you'd expect to find in Freshman English in college. Various famous authors of fantasy (well, famous on the best seller list, at least!) tell how, gosh, Tolkien is the greatest and how much he inspired their writing. Quickly read, quickly forgotten. The second problem with the book are the numerous typographical errors, especially in names from the Tolkien books. What makes this doubly strange is that the excellent artwork (by John Howe, who worked on the movies) often use the same names (and are spelled correctly). Go figure.

This books counts as 17 contributions to the 2004 Short Story Project.

Contents: Preface—The Beat Goes On (Karen Haber); Introduction (George R.R. Martin); Our Grandfather—Meditations on J.R.R. Tolkein (Raymond Feist); Awakening the Elves (Poul Anderson); A Changeling Returns (Michael Swanwick); If You Give a Girl a Hobbit (Esther M. Friesner); The Ring and I (Harry Turtledove); Cult Classic (Terry Pratchett); A Bar and a Quest (Robin Hobb); Rhythmic Pattern in The Lord of the Rings (Ursula K. Le Guin); The Longest Sunday (Diane Duane); Tolkien After All These Years (Douglas A. Anderson); How Tolkien Means (Orson Scott Card); The Tale Goes Ever On (Charles De Lint); The Mythmakers (Lisa Goldstein); "The Radical Distinction..." A Conversation with Tim and Greg Hildebrandt (Glenn Hurdling); On Tolkien and Fairy-Stories (Terri Windling).

Astounding Stories of Super Science

Astounding Stories: The 60th Anniversary Collection; edited by James Gunn (Easton Press, 1990). Three volumes, introductions by Poul Anderson (black cover volume), Stanley Schmidt (red cover volume) and Isaac Asimov (blue cover volume).

Much of my short story reading for the year came from multi-author collections. I also read a number of magazines (which will be mentioned later). Many of these stories I have read previously, but it has been (in some cases) decades, so it was like discovering them for the first time.

The first major collection I read was a trio of books edited by James Gunn, Astounding Stories: The 60th Anniversary Collection (published by Easton Press in 1990). It's a very nice collection (and I recall it was priced pretty nice as well!), gilt edges, ribbon bookmarks, leather or pseudo-leather covers (all the usual Easton Press features).

Even nicer are the introductions (Stanley Schmidt, Isaac Asimov and Poul Anderson) and the artwork. Each story is prefaced by the cover of the issue of Astounding that it originally appeared in. It's a nice way to see how the artwork evolved over the years.

The three volumes were...

Astounding Stories: The 60th Anniversary Collection (Volume I, edited by James Gunn, introduction by Stanley Schmidt, the red cover volume): The Sargasso of Space by Edmond Hamilton (September 1931); The Fifth-Dimension Tube by Murray Leinster (January 1933); The Shadow Out of Time by H.P. Lovecraft (June 1936); The Eternal Wanderer by Nat Schachner (November 1936); Cloak of Aesir by Don A. Stuart (pseudonym for John W. Campbell, Jr.) (March 1939); The Roads Must Roll by Robert A. Heinlein (June 1940); The Stolen Dormouse by L. Sprague de Camp (April 1941); The Changeling by A.E. Van Vogt (April 1944).

Counts as eight stories for the Short Story Project.

This volume, overall, contains the oldest stories in the collection. It also, for the most part, is the weakest of the three volumes for that reason and because several stories are either sequels or part of a series.

The best tales here are The Shadow Out of Time, Cloak of Aesir, The Roads Must Roll and The Stolen Dormouse.

The Shadow Out of Time is part of the so-called Cthulhu Mythos, and (along with a few other tales such as At the Mountains of Madness) one of the strongest stories in the cycle. Lovecraft was a wildly variable writer (and, from what I've read, quite a eccentric individual). The story represented something of a triumph for Lovecraft, placing a story in a magazine that had a much greater audience than some of his other outlets (such as various amateur productions or the much revered Weird Tales magazine). He even rated the cover of the June 1936 issue. However, he never really followed up on this success, mostly due to his eccentric nature. There's some really haunting writing here, especially the sequences set underground in Australia. Turn the lights down and light the candles!

Cloak of Aesir was written by Campbell under the Don A. Stuart pseudonym in order to differentiate it from his space opera tales. In this story and others he strove for atmosphere and character more than page-turning adventure. He doesn't quite reach his initial height (found in the story Nightfall) or his eventual height (found in the story Who Goes There?), but it's a solid tale of an Earth dominated by aliens and the revolution that eventually overthrows those aliens. The only weakness is that it is the second of two stories, so it might have been better to have either used the first tale or one of the others I mentioned.

The Stolen Dormouse is an amusing tale by de Camp and it is nice to see one of his science fiction efforts rather than his more well-known fantasy efforts (I do like those tales, though, don't get me wrong!). It seems to me that the story owes something to Heinlein (look for echoes of Heinlein's Beyond the Horizon, which itself is an echo of his recently published lost first novel For Us, The Living). Whether Heinlein suggested the idea to him (and other works, such as Heinlein's own Grumbles from the Grave show that he did share ideas) or it was something that Astounding's editor Campbell suggested to both I don’t know.

The Roads Must Roll is a tale set fairly early on in Heinlein's Future History series (see the book The Past Through Tomorrow, as well as smaller collections as The Man Who Sold the Moon or Revolt in 2100 for the other stories in the series). I've had a love/hate relationship with the tale since I first read it. It is well written, but my liberal leanings (yes, folks, I do have liberal leanings) chafe at Heinlein's treatment of labor. Is this how Heinlein really thought? Was the voice of the character the "true" voice of the author?

The weakness of the volume comes from the other tales. The Sargasso of Space by Hamilton has not stood the test of time (see my notes on Asimov's Before the Golden Age (when I get around to doing a posting on that book) for a similar complaint). Murray Leinster's career stretched from the early days until the 1960's, so surely a better story than The Fifth-Dimension Tube could have been found. Again, it has not really stood the test of time and it is also a sequel (so you are at something of a disadvantage). The Eternal Wanderer was an O.K. story but I can't recall ever reading another tale by Schachner. He appears to be an author who was popular at the time, but who's star has faded. I think that Gunn could have chosen a better tale by Van Vogt than The Changeling, but he might have felt that some of the better tales (the Weapon Shop stories, for example) have been reprinted so many times that they had lost their freshness. I had difficulty finishing this story.

Astounding Stories: The 60th Anniversary Collection (Volume II, edited by James Gunn, introduction by Isaac Asimov, the blue-gray cover volume): Nightfall by Isaac Asimov (September 1941); Bridle and Saddle by Isaac Asimov (June 1942); Sucker Bait by Isaac Asimov (March 1954); Profession by Isaac Asimov (July 1957); Killdozer! by Theodore Sturgeon (November 1944); Cold Front by "Hal Clement" (G. Harry Stubbs) (July 1946); The Equalizer by Jack Williamson (March 1947).

Counts as six stories for the Short Story Project, as I had read Bridle and Saddle as part of the Foundation Trilogy and did not re-read it.

This might be called the Isaac Asimov volume, given his multiple contributions to the volume. I'm sure that Gunn could have found other authors to get multiple entries from (Henry Kuttner and/or C.L. Moore, writing in collaboration or by themselves; Robert A. Heinlein under his own name or his numerous pseudonyms; even John W. Campbell under his name or his Don A. Stuart pseudonym spring to mind). Perhaps Gunn likes Asimov (he did write a book on the Good Doctor) more or there was a rights problem with the other authors (rumor has it, for example, that the estate that controls the works of Kuttner and Moore make unreasonable demands for reprints). Still, other than Bridle and Saddle, Gunn made some excellent choices here.

Nightfall could arguably be Asimov's most famous story. I'm not going to do a rundown on the plot, if you haven't read it, get thee to a collection that has it and read it. If you've only seen the movie, shame, junk the movie and read the story. That movie should never have been made (I'm sure we can say that of many movies!). The first volume of his autobiography (In Memory Yet Green) talks about how the story came to be (and it's a good process of the typical relationship that Astounding editor John W. Campbell, Jr. had with many authors):

He [Campbell] had come across a quotation from an eight-chapter work by Ralph Waldo Emerson, called Nature. In the first chapter, Emerson said: "If the stars should appear one night in a thousand years, how would men believe and adore; and preserve for many generations the remembrance of the city of God..."

Campbell asked me to read it and said, "What do you think would happen, Asimov, if men were to see the stars for the first time in a thousand years?"

I thought, and drew a blank, "I don't know."

Campbell said, "I think they would go mad. I want you to write a story about that."

We talked about various things, thereafter, with Campbell seeming to circle the idea and occasionally asking me questions such as, "Why should be stars be invisible at other times?" and listened to me as I tried to improvise answers. Finally he shooed me out with, "Go home and write the story."

In my diary for that day I said, "I'll get started on it soon, as I think the idea is swell, and I even envisage making a lead novelette out of it, but I don't delude myself into thinking it will be an easy story to write. It will require hard work."


It is, in my opinion (and as Asimov points out in the autobiography) a good story. Heck, the SF Writers of America voted it as the best, by a healthy margin. At that point in his career, Asimov was still an amateur:

My status on that evening of March 18 was as nothing more than a steady and (perhaps) hopeful third-rater. What's more, that's all that I considered myself to be at that time. Nor did anyone else, as far as I know, seriously consider me, in early 1941, as a potential first-magnitude star in the science-fiction heavens—except, maybe, Campbell. The Golden Age was in full swing and it contained, already, such brilliant stars as Heinlein and Van Vogt and such scarcely lesser names such as Hubbard, de Camp, del Rey, and Sturgeon. Surely no one could possibly have thought I would ever be considered comparable to these—except, maybe, Campbell.


Asimov's output was always more non-fiction than fiction. Much of his output, as much as I love it, was pretty "pulpy". Nightfall, however, is one of the cases where he breaks those bounds.

Sucker Bait and Profession are both good stories. They are also probably not as well known to a more casual fan of science fiction, which is a shame, as they are as strong as any of Asimov's more famous Foundation or Robot tales. In Sucker Bait an expedition is sent to a planet where a previous expedition had failed a hundred years earlier. The ship carries a number of scientists, each working in his (no female characters!) niche. In fact, the scientists are so specialized that they find it difficult to talk to each other. The ship also carries a member of a new profession, the Mnemonics. Members of that profession are encouraged to read anything and everything, and prove their worth by finding obscure links between specialties or dredging up things that may have been forgotten. The main character is a Mnemonic, and manages to save the day (eventually) by jumping across specialties and remembering an obscure fact.

It's an interesting idea. Certainly my own personal experience, in job hunting, has shown me that our society is becoming more and more specialized. While I don't have some of the qualities that Asimov talks about in the profession (a photographic memory is implied), given my reading habits, it's a job that I'd love to have!

Profession has some similar themes. Technology (in the story) has advanced to the point where education is done electronically through tapes. A person is tested for various qualities, and is programmed into a profession. Yearly Olympics are held, where people compete in their professions. Winners are recruited by various planets for their technical skills, losers got another chance in the next competition.

The main character is placed in a home because he can't be educated using the tapes. There are such homes scattered across the planet, peopled by those who are not up to the tape method. They are given the chance to educate themselves the old fashioned way, through reading and classes.

What the main character eventually learns is that while he initially considers himself to be stupid, as he can't be educated through the tapes, he is actually one of the gifted ones. Once educated by a tape, you are pretty much stuck in that profession. If a newer model of a machine comes out, you (apparently) can't be re-educated with a new tape. And it seems that you either can't learn new skills (or society has changed to the point where people can't grasp the concept). The main character eventually realizes that he and the others in these homes for the "stupid" are actually the ones who do all the innovation in society.

Both Sucker Bait and Profession probably appealed to your fan of the Golden Age for other reasons. Like In Hiding by Wilmar H. Shiras, or Mimsy Were the Borogoves by "Lewis Padgett" (Henry Kuttner & C.L. Moore) (both these were read in 2004, and I'll post about them eventually!), you have stories where social outcasts turn out to have the skills needed to save the day. You are outside of society, but you are better than society. Your "typical fan" (and hey, I was one and still am), finding it difficult to fit in, feeling misunderstood, saw themselves in these stories and more.

Theodore Sturgeon's Killdozer! is a nice thriller of a story. You can also tell that Sturgeon was making good use of life experience here; some paragraphs are practically manuals on how to operate power equipment (Hmm...Melville did it for Moby Dick, does this make Sturgeon great literature?). Avoid the horrid television movie of several years ago or Stephen King's hack attempts to re-work the same theme and ideas and read this one with the lights turned low.
Hal Clement (G. Harry Stubbs) was a science teacher and a (not-so) amateur astronomer. He may not have written some of the most interesting characters in the world, but man, could he set up a scientific puzzle. Cold Front is a classic Clement tale of misunderstood aliens and a situation that the main characters must grapple with and understand in order to win through. No guns blaze, nobody dies, but that doesn't make it any less of a conflict. I'm not sure if I would have chosen this story to represent Clement's contribution to Astounding, but hopefully those reading the collection would have been hooked enough to go onto his other contributions, such as novels like Mission of Gravity.

Finally, we have Equalizer by Jack Williamson. It's a solid, early to middle career tale by Williamson, one that I sort of had encountered previously. At one point I remember reading a collection of essays on science fiction that had a quote in it that stuck with me until now. I've finally made the connection between the quote and the source:

Long rows of shops and warehouses stood deserted. Doors yawned open. Neglected roofs were sagging. Ruined walls, here and there, were black from old fire. Every building was hedged with weeds and brush.

Far across the shattered pavements stood the saddest sight of all. A score of tall ships stood scattered across the blast aprons, where they had landed. Though small by comparison with such enormous interstellar cruisers such as the Great Director, some of them towered many hundreds of feet above the broken concrete and the weeds. They stood like strange cenotaphs to the dead Directorate.

Once they had been proud vessels. They had carried the men and the metal to build Fort America. They had transported labor battalions to Mars, dived under the clouds of Venus, explored the cold moons of Jupiter and Saturn. They had been the long arm and the mighty fist of Tyler's Directorate, and the iron heel upon the prostrate race of man.

Now they stood in clumps of weeds, pointing out at the empty sky they once had ruled. Red wounds marred their sleek skins, where here and there some small meteoric particle must have scratched the mirror-bright polish, letting steel go to rust. And the rust, in the rains of many years, had washed in long, ugly, crimson streaks down their shining sides.

One of them, the most distant, had fallen. The great hull was flattened from the impact, broken in two. Steel beams, forced through the red-stained skin, jutted like red broken bones. The apron was shattered beneath it, so that a thick jungle of brush and young trees had grown up all around it.


Interesting how that quote has haunted me for about 30 years!

Astounding Stories: The 60th Anniversary Collection (Volume III, edited by James Gunn, introduction by Poul Anderson, the black cover volume): Private Eye by "Lewis Padgett" (Henry Kuttner & C.L. Moore) (January 1949); The Witches of Karres by James H. Schmitz (December 1949); Bindlestiff by James Blish (December 1950); ...And Then There Were None by Eric Frank Russell (June 1951); Martians, Go Home by Fredric Brown (September 1954); We Have Fed Our Sea by Poul Anderson (August 1958); The Big Front Yard by Clifford D. Simak (October 1958).

Counts as seven stories for the Short Story Project.

This volume highlights authors who would carry Astounding (later, Analog) into a new level of maturity. Look at the contributions by Russell, Anderson or Simak. Are these space operas? Are these pulp writings?

Private Eye is probably the weakest tale in the volume. There's a nifty idea (if police have the ability to watch a person through time in order to determine a crime, how can somebody get around that in order to commit a crime?), but Padgett, or rather, Kuttner and/or Moore, have done better. See some of the entries from the Science Fiction Hall of Fame (posting is coming!), for examples.

The Witches of Karres is a fun tale by Schmitz. As with H. Beam Piper and a few others, Schmitz was a popular author in Astounding who fell into obscurity when his various books went out of print. Luckily, Baen Books has republished his tales, including this one. I urge you to pick up a few (and if you'd like to read the electronically, the so-called Websubscriptions site associated with Baen Books has several volumes available free).

Bindlestiff is part of the overall Cities in Flight sequence by Blish. These were first written as individual tales and then stitched together into a series of four books. You can generally find the four books collected in a single hardcover or paperback volume called Cities in Flight. The sequence runs from the early days of exploring the solar system to the (literally) end of the universe and the start of the next. Bindlestiff is in the approximate middle of the series, and concerns the airborne (I kid you not) city of New York and a fight against another city that has turned bindlestiff (or criminal). Despite being the middle story of a long sequence, it stands on its own better than some of the stories from the first volume of this book trio (e.g., the Murray Leinster contribution).

...And Then There Were None by Russell and Martians, Go Home by Brown are both funny and thought-provoking. Given the usual uneducated view of Campbell, you might be surprised that such a subversive tale as ...And Then There Were None would appear in the pages of Astounding. Heck, given the view that most people have of "pulp", you'd be surprised that such a thoughtful story appeared there. Haven’t read it? Look it up, either in a collection, or in a book called The Great Explosion. Martians, Go Home is a hoot. What if there really were Little Green Men on Mars. What if they invaded Earth. Brown manages both, but also manages to avoid all the clich├ęs you might expect. Excellent pair of tales.

We Have Fed Our Sea is one of my favorite stories by Anderson. I'm more familiar with the novel version, called The Enemy Stars (and it's been so long since I've read that one, that I'm not sure how different the story is from the book). Man explores the stars by sending ships traveling slower than the speed of light out to a destination, and then hopping to them via a faster-than-light matter transmitter. The story concerns The Southern Cross, diverted to explore a dead star, and what happens to the crew when something goes horribly wrong. Is this pulp fiction?

A bell buzzed.

His heart sprang. He crawled back, feeling dimly that there were tears on his own face now, and stared into the screen.

A being stood in the receiving chamber. It wore some kind of armor, so he could not make out the shape very well, but though it stood on two legs the shape was not a man's. Through a transparent bubble of a helmet, where the air within bore a yellowish tinge, Maclaren saw its face. Not fish, nor frog, nor mammal, it was so other a face that his mind would not wholly register it. Afterward he recalled only blurred features, there were tendrils and great red eyes.

Strangely, beyond reason, even in that first look he read compassion on the face.

The creature bore David Ryerson's body in its arms.


Anderson was one of our finest practioners of the craft of science fiction writing. He knew how to tell a fine tale (probably learned from his love of Norse and other epics). He wrote many fine characters. His planets were realistic, given his own grounding in science and his work with people such as Hal Clement. He was well read, and wove the works of others into his tales, such as this quote from Kipling found in this story:

We have fed our sea for a thousand years
And she calls us, still unfed,
Though there's never a wave of all her waves
But marks our English dead:
We have strawed our best to the weed's unrest
To the shark and the sheering gull,
If blood be the price of admiralty,
Lord God, we ha' paid it in full!


The field of science fiction is all that much poorer for our loss of this talent.

I have written elsewhere of how much I enjoy the works of Clifford D. Simak. I have also written elsewhere of my belief that his inherent optimism and his so-called pastoral science fiction helped me back from the brink. The Big Back Yard is one of his best, and contains seeds that fed into other works, such as his novel Mastodonia. You've got a lot of classic Simak touches: the faithful dog (inevitably named Bowser or Towser), the shrewd main character who takes advantage of a strange situation, a secondary character with a needed skill or talent.

Hiram Taine, a Yankee Trader (do we still have those?) wakes up one day with his dog (Towser in this case) barking. It appears that he has mice or rats in his house. Or does he? Later, upon going into his basement, he finds a new ceiling. Then there's that big cylinder in the woods that appeared over night...

Things get really interesting when he opens his front door and finds a desert where none was before!

Great stuff. I'm glad to see Old Earth Books bringing out two of Simak's classics and an effort underway to bring all of his short works back into print.

Counts as 21 stories (between the three volumes) for the 2004 Short Story Project.
Shorter Works of Samuel R. Delany

Ah, the 70's. The Nebula Awards collections found in the library. The piles of books from the Science Fiction Book Club that my parent's would buy me. Writers like Robert Silverberg writing about sex and drugs. New authors such as Gene Wolfe and Samuel R. Delany.

I first encountered Delany as an author of short stories. Tales such as Aye, and Gomorrah..., Time Considered as a Helix of Semi-Precious Stones and Driftglass appeared in a few collections that I read (such as the Nebula Awards collections).

During high school I encountered Delany as a novelist, in two books (Nova and Dhalgren). Nova was a space opera, a wonderfully baroque space opera. Dhalgren was...well...even now it's hard to explain. It was certainly the novel that moved Delany from the likes of Ace Books (where his first book, The Jewels of Aptor, was published) into even more prominence than the winning of the Nebula for various works, e.g., Babel-17, Aye, and Gomorrah..., Time Considered as a Helix of Semi-Precious Stones) seemed to have done. I even had a chance to meet Delany briefly at a convention in New York City; he was very nice, much less snobbish than some of the other authors at that convention.

(I plan to re-read Nova, Dhalgren and other works in 2005, so maybe I'll have something more detailed to say.)

In 2004, I read two novels, two collections of short works, two short novels and a long autobiographical work by Delany. The autobiographical work came close to being considered one of the best books I read in 2004 (there was a lot of tough competition for that slot!). Here are my reviews of the short story collections.

Aye, and Gomorrah and Other Stories (Vintage Books, 2003):

Counts as 16 entries in the 2004 Short Story Project.

The Star Pit; Corona; Aye, and Gomorrah...; Driftglass; We, in Some Strange Power's Employ, Move on a Rigorous Line; Cage of Brass; High Weir; Time Considered as a Helix of Semi-Precious Stones; Omegahelm; Among the Blobs; Tapestry; Prismatica; Ruins; Dog in a Fisherman's Net; Night and the Loves of Joe Dicostanzo; Afterword: Of Doubts and Dreams.

Distant Stars (iBooks, 2004):

Counts as 2 entries in the 2004 Short Story Project.

Of Doubts and Dreams: An Introduction by Samuel R. Delany; Prismatica (illustrated by John Pierard); Corona (illustrated by John Collier); Empire Star (illustrated by John Jude Palencar); Time Considered as a Helix of Semi-Precious Stones (illustrated by Jeanette Adams, special effects by Digital Effects, computer program by David Cox); Omegahelm (illustrated by John Coffey); Ruins (illustrated by John Pound); We, in Some Strange Power's Employ, Move on a Rigorous Line (illustrated by Michael Sorkin).

Because there was so much overlap between these two collections, I'll consider them together. Of the two collections, I'd recommend starting with Distant Stars, due to the illustrations. In fact, if Distant Stars had contained The Star Pit and Babel-17, you would have had just about the perfect Delany collection (you can get Babel-17 and Empire Star in one volume from Vintage).

The Star Pit and Empire Star are among Delany's best short works, and along with Babel-17 and Nova rate among his best space opera. In fact, with all the bro-ha-hah over the past few years on the New Space Opera, it seems to be overlooked that Delany was reinventing space opera well before the likes of Ken MacLeod, Charles Stross or Alastair Reynolds came along (don't get me wrong, I like all three...well, two out of the three!).

(I'll note right here that I only review a handful of the stories that I read. I'll eventually add more reviews.)

Prismatica (1977, The Magazine of Fantasy & Science Fiction): This story is mentioned as one of the early tales Delany was working on in the text of Motion of Light. The main character (Amos) is hired by The Grey Man (his skin is grey, his clothing is grey; his ship is grey, his crew is colorless by application of dust and dirt; colors give him a headache) to find a mirror that is broken into three parts. However, on the Grey Man's ship, he finds that the Grey Man has imprisoned Jack (Vance?), the "Prince of the Far Rainbow", the original quester for the broken mirror and original owner of the ship. Jack's love is trapped in the pieces of the mirror. Amos and Jack use their wits (not their fists) to get around the Grey Man and get the mirror pieces back.

I mention Jack Vance, as this story reminded me strongly of the style of Jack Vance, especially in the tales of The Dying Earth. I'm also reminded of Fritz Leiber's tales, but Delany does not get as darkly humorous as Leiber did in his tales of Fafhrd & the Gray Mouser. The artwork reminds me strongly of the style of Arthur Rackham, see especially this image and this image.

I loved this part:

That knocking came again.

"Only that isn't above us," said Jack. "It's below."

They looked at the floor. Then Jack got down on his hands and knees and looked under the cot. "There's a trapdoor there," he whispered to Amos, "and somebody's knocking."

"A trapdoor in the bottom of a ship?" asked Amos.

"We won't question it," said Jack; "we'll just open it."


Ruins (1968, Algol; 1981, Distant Stars): Jack Vance homage, similar in feel to the above story. Delany mentions a story in the introduction that he first started writing in 1963, revised multiple times, over the course of 17 years. He mentions that it was originally published in a fanzine. It is a short work, but it packs a terrific (surprise, so I won't talke about it) punch in the end.

In some weird form of symmetrical writing, the foreword/introduction to Distant Stars is also the afterword in Aye... Talk about economy/recycling!

There are some comments from that piece that I wanted to quote. Delany gives three rules for writing, that he often uses in writing workshops:

Derived from Theodore Sturgeon: "To write an immediate and vivid scene...visualize everything about it as thoroughly as you can, from the tarnish on the doorknob plate to the trowel marks on the ceiling's unpainted plaster. Then do not describe it. Rather, mention only those aspects of it that impinge on your character's consciousness as she or he, in whatever emotional state she or he is in, moves through it. The scene the reader envisions...will not be the same as yours—but it will be as important, vivid, detailed, and coherent for the reader as yours was for you.


Derived from Thomas Disch: When a story runs down the only thing you can really do is to ask of your story what's really going on in it. What are the character's real motiviations, feelings, fears, or desires? Right at the point you stopped, you must go down to another level in the tale. You must dig into the character's psychology deeply enough (and thus build up your vision of the story's complexity enough) to reinterest yourself. If you can't then the story must be abandoned.


From Samuel R. Delany: At some point, when the story is still only an idea, an image, or a subject, ask yourself what is the most cliched, the most traditional, the most usual way to handle the particular material. Ask yourself what are the traps that, time and again, other writers have fallen into when handling the same material, which have made their work trite, ugly or dull. Can you think of any way to avoid precisely these traps? How do you want your work to differ from the usual? How is your work going to deal with this material in a way no one has ever dealt with it before? Locating a precise writerly problem to avoid (or solve) or situating a particular writerly approach that will set your work apart can often provide the excitement to write it.
The Motion of Light in Water

(You all are detecting a pattern to these Delany postings by now, aren't you?)

Ah, the 70's. The Nebula Awards collections found in the library. The piles of books from the Science Fiction Book Club that my parent's would buy me. Writers like Robert Silverberg writing about sex and drugs. New authors such as Gene Wolfe and Samuel R. Delany.

I first encountered Delany as an author of short stories. Tales such as Aye, and Gomorrah..., Time Considered as a Helix of Semi-Precious Stones and Driftglass appeared in a few collections that I read (such as the Nebula Awards collections).

During high school I encountered Delany as a novelist, in two books (Nova and Dhalgren). Nova was a space opera, a wonderfully baroque space opera. Dhalgren was...well...even now it's hard to explain. It was certainly the novel that moved Delany from the likes of Ace Books (where his first book, The Jewels of Aptor, was published) into even more prominence than the winning of the Nebula for various works, e.g., Babel-17, Aye, and Gomorrah..., Time Considered as a Helix of Semi-Precious Stones) seemed to have done. I even had a chance to meet Delany briefly at a convention in New York City; he was very nice, much less snobbish than some of the other authors at that convention.

(I plan to re-read Nova, Dhalgren and other works in 2005, so maybe I'll have something more detailed to say.)

In 2004, I read two collections of short works, two short novels and a long autobiographical work by Delany. The autobiographical work came close to being considered one of the best books I read in 2004 (there was a lot of tough competition for that slot!). Here is my review of the autobiographical work.

The best of the the books by Samuel R. Delany that I read in 2004 was The Motion of Light in Water: Sex and Science Fiction Writing in the East Village (University of Minnesota Press, 2004, greatly expanded from an earlier edition).

This was a bizarre book. And a wonderful book. I read it in two very long sittings, at work. It's an autobiographical work, covering Delany's childhood up until the time when he had published works such as The Jewels of Aptor and several short works. There's a lot going on in this work. In some parts, Delany plays with perception (such as the beginning, where he gives two different accounts of an incident involving his father). In others, he talks about the problems of memory (where, for example, he discusses the early days of his marriage to poet Marilyn Hacker).

There's a bit about Delany and the process of writing, but not as much as I had hoped. For this, I suspect I'll have to track down various collections of essays, especially the (sadly) out-of-print The Jewel-Hinged Jaw: Essays on Science Fiction. Sure, there are descriptions of his struggles to write, his habit of keeping a notebook with him, etc., but not the detail I wanted. And, as the book ends before such works as Nova and Dhalgren, it doesn't discuss some of the works that I like to learn more about.

So what in the book fascinated me that most? Oddly enough, the sex and the relationships. Taking a look back into the "scene" in the 1960's from the perspective of 2004 (tossing in AIDS, various other sexual diseases, various moral outrages raised by people of various moral stripes, etc.) and I found the sections where Delany talks about his relationship with Marilyn Hacker, the various long- and short-term relationship he had, and the (ahem) orgies that occurred in the Village at that time...and you see the depiction of a society that feels more like science fiction than most science fiction. It's utterly bizarre, utterly foreign, but Delany does such a good job of writing about it that its utterly fascinating. Good stuff.

A few quotes from the book...

Every once in a while I would get up to wander into the kitchen to stir the skillet full of spaghetti sauce I'd done up from a recipe on the back of the small white-and-green cardboard box of oregano leaves, the counter still flaked with bits of onion and three fugitive pieces of tomato. Or I'd wander into the front bedroom—just as another arc from the hydrant below broke between the black fire escape slats to sing across the glass, and five hundred purple crescents would gem and drool across the pane, while I stood watching the motion of light in water. (Page 122)


One was simply the graduate student problem. The titles she picked up from our living room bookshelves to read, or purchased from the selves of the Village bookstores farther west, came from an ideal list of Great Literary Works. These were the works you were supposed to read. Finishing all the books on that list was a lifetime chore. And the general perception was, I think, that there just wasn't time to read anything that had not, somehow, gotten into that strangely and mysteriously maintained canon.

The second problem was probably an outgrowth of the first. The possibility that she might actually find one of these noncanonical works as entertaining, if not as intelligent, as she clearly found her confrontations with classical writers (and Sue, Marilyn, and I talked about writers and novels constantly and entertainingly) would itself threaten all the unexpressed and unanalyzed notions that made the idea of a canon valid. (Page 280


When we met at the office, he gave me the single fan letter Captives of the Flame had managed to elicit: the writer explained that he had figured out that "Samuel R. Delany" had to be a pseudonym of A.E. van Vogt. If you took the first and last letters from Samuel and followed them by the fourth and fifth letters in "Delany," it spelled Slan, the title of van Vogt's most famous SF novel. And, besides, the writer went on, he'd never heard of an SF writer named "Samuel R. Delany" before and he knew all the SF writers there were.(Page 306-307)


Science fiction has always been attractive to young writers. It offers a possibility of writing for a living rather more quickly than certain other practices of writing, literary or paraliterary. But to the extent that young writers take their work seriously, it opens them to great internal strife for very meager rewards. And it's arguable that the nil-reward situation that greets most young literary writers is finally healthier, because it does not hold out the initial illusion of economic stability, which becomes hopelessly muddled with the thrill of seeing your work in print—in embarrassingly ugly packages! (Page 410)


In Asimov's Foundation stories from the forties, or even in Bester's The Stars My Destination from the mid-fifties, no matter how festooned with scientific gewgaws and technological gadgets, the "spaceports" in these tales were not modeled on any contemporary airport, but rather on some ancient train station, or even a set of boat docks such as the ones I'd just been working at. (Page 538)


I began a short book (really a long story) called Empire Star soon after I received Ron's second letter. There were at least three motivations behind it, and at this distance I can't honestly say which was the strongest. More money for the trip was one of them. Also, the final strain of the affair with Bob had left Marilyn and myself both exhausted with, and distanced from, one another. In an emotionally drained state myself, I felt I had to take on some new project that I could complete and feel some satisfaction in, if only to bolster my own shaky sense of well-being. Never a fast writer nor, by my own estimation, a very disciplined one, I wanted to do a thoroughly planned-out work.

More important, I wanted to write to a rigorous schedule, just to see if I could. The long story (which I'd initially thought would appear on the back of Babel-17 in an Ace Double format) was written as a kind of endurance test, writing in the morning, writing in the afternoon. The third reason was that there was still much from Marilyn's and my time with Bob (including the trip to Texas) that would not settle until at least some of it had become art.

It had been true of Babel-17.

It was true of Empire Star.

And it was true of The Star Pit, the story whose first two thirds I completed right afterwards.

Empire Star's thirty thousand words were finished in eleven days. (Page 550-551)


Suited, tied, and "imperially slim," as E.A. Robinson has written of someone else, (James) Gunn was leaning against the icebox after having had perhaps a drink or so more than he might have. "And what does this young man do?" he asked.

"Well, he writes SF," Hans explained.

"Have you published anything?" Gunn asked.

"Oh," I said, "three or four SF novels," I thought that was a modest way to say five.

"And what's your name—again?"

"Chip Delany," I said. "Eh...Samuel R. Delany."

"That's amazing. I've never seen any of them. I really thought I kept up with the field." Then he turned and announced over his glass, "Now, you see, these are the people whom we should be paying attention to. This is where the future of the field lies. Right here, in people like this." (Page 568)
Two Short Novels by Samuel R. Delany

Ah, the 70's. The Nebula Awards collections found in the library. The piles of books from the Science Fiction Book Club that my parent's would buy me. Writers like Robert Silverberg writing about sex and drugs. New authors such as Gene Wolfe and Samuel R. Delany.

I first encountered Delany as an author of short stories. Tales such as Aye, and Gomorrah..., Time Considered as a Helix of Semi-Precious Stones and Driftglass appeared in a few collections that I read (such as the Nebula Awards collections).

During high school I encountered Delany as a novelist, in two books (Nova and Dhalgren). Nova was a space opera, a wonderfully baroque space opera. Dhalgren was...well...even now it's hard to explain. It was certainly the novel that moved Delany from the likes of Ace Books (where his first book, The Jewels of Aptor, was published) into even more prominence than the winning of the Nebula for various works, e.g., Babel-17, Aye, and Gomorrah..., Time Considered as a Helix of Semi-Precious Stones) seemed to have done. I even had a chance to meet Delany briefly at a convention in New York City; he was very nice, much less snobbish than some of the other authors at that convention.

(I plan to re-read Nova, Dhalgren and other works in 2005, so maybe I'll have something more detailed to say.)

In 2004, I read two collections of short works, two short novels and a long autobiographical work by Delany. The autobiographical work came close to being considered one of the best books I read in 2004 (there was a lot of tough competition for that slot!). Here are my reviews of the two short novels.

Weaker than the short stories were the two short novels that I read, The Jewels of Aptor (originally published by Ace Books in 1967, my copy is a Gollancz edition from 2000) and The Einstein Intersection (also from Ace Books in 1967, my copy is from the Wesleyan University Press and was published in 1998).

The Jewels of Aptor is a post-atomic holocaust novel with elements of fantasy. It's a quest novel (the main characters are ordered to search for a item of power, one of the jewels of the title) that contains many of the elements Delany would use again and again (for example, the character of The Kid). As a post-atomic holocaust novel, it is so-so. Others, such as Walter M. Miller's A Canticle for Leibowitz, are much better example of that science fiction sub-genre. But you can see things here that Delany later expanded upon in Dhalgren and other later works, and as I read this in parallel with his autobiographical work (see below), it was interesting to see elements of his life worked into the novel.

The Einstein Intersection (not Delany's title, that was A Fabulous, Formless Darkness) is also a post-atomic holocaust novel with elements of fantasy. The fantasy elements are stronger here, and I was reminded of one of Delany's shorter works (not, alas, in one of the single-author collections I read, so the title naturally slips my mind!). To be honest, I had difficulty reading this one and rushed through it. It did not make much of an impression; so I intend on tackling it again to see if it works the second time through.
The World of M.C. Escher

This year I read The World of M.C. Escher (ed. by J.L. Locher, Abrams, 1971).

I remember looking at this book in the bookstores when it came out. It was something that I always wanted. I ended up getting several similarly titled trade paperbacks.

The book is something of a disappointment. The essays are relatively pointless and pretty uninformative. The pictures are much smaller and not as sharp as those in the other books I have.
The Cosmic Connection

Carl Sagan: Cosmic Connection (with editing by Jerome Agel) (Cambridge University Press, 2000) and Other Worlds (with editing by Jerome Agel) (Bantam, 1975)

2004 saw two me re-reading two books by Carl Sagan. I first encountered Sagan in high school, thanks to a friend.

The first book I re-read was Other Worlds. This is a very short book, hardly more than an extended essay. In fact, upon reading this and Cosmic Connection, I think that Other Worlds was made up of bits and pieces left over from Cosmic Connection, heck it feels like an extended introduction or overview of the longer work.

The better of the two works is definitely Cosmic Connection: An Extraterrestrial Perspective. I now see that it has an extended title (Carl Sagan's Cosmic Connection: An Extraterrestrial Perspective). I picked up this new edition partly to replace my disintegrating paperback and partly to see what the additional material (contributions by Freeman Dyson, Ann Druyan and David Morrison) were like.

The book has lost none of its impact for me. It's amazing how wide-ranging Sagan is in the book, running from commentary on the military, to the possibility of other intelligences on our planet, to the mystery of our solar system, to speculations on intelligence around other suns. David Morrison's Epilog discusses some things that we've learned since the book was written, it's actually amazing to see how much has stood the test of time.

It's a shame, an absolute shame that Sagan died. I look at what we've done in space since his death—three rovers and several orbiters to Mars, a mission to Jupiter, a mission to Saturn, missions to comets and asteroids—he would have loved to have seen all of this. This one of those books that really cemented my interest in science in general and astronomy in particular. I owe Sagan a lot.

I can't recommend the book highly enough. If you're interested in science, get it. If you plan to write a science fiction novel or story, get it.

Counts as 43 essays in the 2004 Short Story Project.

Contents: Foreword (Freeman J. Dyson); Carl Sagan: A New Sense of the Sacred (Ann Druyan); Preface; A Transitional Animal; The Unicorn of Cetus; A Message from Earth; Experiments in Utopias; Chauvinism; Space Exploration as a Human Enterprise: The Scientific Interest; Space Exploration as a Human Enterprise: The Public Interest; Space Exploration as a Human Enterprise: The Historical Interest; On Teaching the First Grade; 'The Ancient and Legendary Gods of Old'; The Venus Detective Story; Venus Is Hell; Science and 'Intelligence'; The Moons of Barsoom; The Mountains of Mars: Observations from Earth; The Mountains of Mars: Observations from Space; The Canals of Mars; The Lost Pictures of Mars; The Ice Age and the Cauldron; Beginnings and Ends of the Earth; Terraforming the Planets; The Exploration and Utilization of the Solar System; Some of My Best Friends Are Dolphins; 'Hello, Central Casting? Send Me Twenty Extraterrestrials'; The Cosmic Connection; Extraterrestrial Life: An Idea Whose Time Has Come; Has the Earth Been Visited; A Search Strategy for Detecting Extraterrestrial Intelligence; If We Succeed...; Cables, Drums, and Seashells; The Night Freight to the Stars; Astroengineering; Twenty Questions: A Classification of Cosmic Civilizations; Galactic Cultural Exchanges; A Passage to Elsewhen; Starfolk I: A Fable; Starfolk II: A Future; Starfolk III: The Cosmic Cheshire Cats; Epilog to Carl Sagan's The Cosmic Connection (David Morrison).
The Lives of a Cell

Lewis Thomas: The Lives of a Cell: Notes of a Biology Watcher (Lewis Thomas) (Penguin, 1978)

Lewis Thomas was one of those authors that Amazon was always recommending to me, so I picked up The Lives of a Cell to give him a try. I've enjoyed Stephen Jay Gould and John McPhee, so I thought I'd do all right.

These essays orignally appeared in the New England Journal of Medicine in the early 1970's. Overall, I enjoyed them, but had a problem that I often have with Stephen Jay Gould's essays. Sometimes Thomas is reacting to something timely (in the 1970's), so you lose a little due to a lack of context. Sometimes Thomas is responding to an article in the Journal or another publication, so you may not have the background. The subject matter, as you'll see from the list of contents (below) is wide-ranging. Not as good an author as Carl Sagan (and I'll be posting on Sagan eventually), this is an author that I'm going to buy more books from and an author I'll revisit. Especially if I ever find that really good idea for a science fiction novel...

Counts as 29 contributions to the 2004 Short Story Project.

Contents: The Lives of a Cell; Thoughts for a Countdown; On Societies as Organisms; A Fear of Pheromones; The Music of This Sphere; "An Earnest Proposal"; "The Technology of Medicine"; "Vibes"; "Ceti"; "The Long Habit"; "Antaeus in Manhattan"; "The MBL"; "Autonomy"; "Organelles in Organisms"; "Germs"; "Your Very Good Health"; "Social Talk"; "Information"; "Death in the Open"; "Natural Science"; "Natural Man"; "The Iks"; "Computers"; "The Planning of Science"; "Some Biomythology"; "On Various Words"; "Living Language"; On Probability and Possibility; The World's Biggest Membrane.
Seek!

Rudy Rucker: Seek! (Rudy Rucker) (Four Walls Eight Windows, 1999)

2004's contribution to books read by Rudy Rucker was a non-fiction collection called Seek! (exclamation point included). It's a mixed bag, broken into articles on science, articles on life, articles on science fiction and articles on art. By mixed bag, I mean very uneven, widely varying in quality...

Some of this stuff is great. Rucker's articles on computers (in the science section) are especially interesting, exploring artificial life, fractals, cellular automata, etc. He worked on several programs for fractals and cellular automata that you can download from his website. The articles on art show a new maturity in his writing, and I'd like to see more from him in this area.

The stuff in between...well, that's where we get the mixed bag. In his articles on science fiction, we see somebody who seems pretty darned annoyed that he doesn't have the same recognition for creating/founding the cyberpunk movement that is accorded to folks like William Gibson and Bruce Sterling. Sorry about that, Rudy. In the articles on life, for the most part, we see stuff that should have been tossed in the filing cabinet and forgotten. Do we really need to know about the time that Rudy was high on various substances and approached one of Jerry Falwell's associates and raved at him? Hunter S. Thompson he is not, and it wasn't very amusing in Thompson's works.

Counts as 32 essays in the 2004 Short Story Project.

Contents: Seek What?; 37 Questions; Welcome to Silicon Valley; A Brief History of Computers; Cellular Automata; Four Kinds of Cyberspace; Life and Artificial Life; Hacking Code; A New Golden Age of Calculations; Mr. Nanotechnology; Fab! Inside Chip Fabrication Plants; Goodbye Big Bang; Tech Notes Towards a Cyberpunk Novel; Drugs and Live Sex; Jerry's Neighbors; The Central Teachings of Mysticism; Haunted by Phil Dick; California New Edge; Vision in Yosemite; Cyberculture in Japan; The Manual of Evasion; Memories of Arf; Island Notes; In Search of Brugel; A Transrealist Manifesto; What SF Writers Want; What is Cyberpunk?; Cyberpunk Lives!; Interview iwth Ivan Stang; Special Effects: Kit-Bashing the Cosmic Matte; Art in Amsterdam; Pieter Brugel's Peasant Dance.
Sam Gunn

Ben Bova: Sam Gunn, Unlimited (BantamSpectra, 1993)

Ben Bova's contribution to my reading this was his short story collection Sam Gunn, Unlimited. The books revolves around ex-NASA astronaut, "entrepreneur" (con man?) Sam Gunn as the Solar System is opened up. According to Bova's website, these stories are now part of his Tales of the Grand Tour mega-series. Fun stuff, amusing stories, fast pacing, some good characters. There's another collection of Sam Gunn stories that I've got, I'll tackle it next year.

Counts as nine stories in the 2004 Short Story Project.

The book contains several sections of bridging material between the stories plus the following stories: Space University, Two Years Before the Mast, Vacuum Cleaner, Diamond Sam, The Supervisor's Tale, The Long Fall, Isolation, and Einstein.
Phase Space

Stephen Baxter: Phase Space (HarperCollins, 2002)

Phase Space is a collection of stories by Stephen Baxter, honorary member of the "Killer Bs". (The other Killer B's are David Brin, Gregory Benford and Greg Bear; Baxter was indoctrinated into the group relatively recently.) The collection is a mixture of stories. The majority are associated with his Manifold sequence of books (Manifold: Time, Manifold: Space, Manifold: Origin); for example, the story "Sheena 5" is pretty much folded directly into Manifold: Time. Other stories such as "Moon-Calf" or "War Birds" are similar to his alternate history novels such as Voyage.

For the most part, as he did with the Manifold sequence, Baxter examines the Fermi Paradox: If the universe is teeming with life, why haven't we heard from anybody? In fact, by the end of the book, I was feeling moderately exhausted by the various scenarios proposed. I might have done better with the book if I had read the stories bit by bit, rather than all in a few sittings.

The book is an import from the United Kingdom (thanks Pete!). Alas, we have yet to see it on this side of "the Pond". For some reason publishing houses seem to be increasingly reluctant to bring out short story collections by single authors. So if you like Baxter, you'll have to contact Amazon's U.K. version to get a copy. Hopefully Del Rey (the house that published Baxter's Manifold sequence as well as several of his other recent books) will eventually come out with the collection, even if in paperback. (And hopefully we'll see collections—either from a U.K. publisher or a specialty publisher in the U.S.) of other folks such as Alastair Reynolds—folks who have a large body of short stories that are only available in magazines and various multi-author collections.

Counts as 25 stories for the 2004 Short Story Project.

Contents: Dreams (I): Moon-Calf. Earths: Open Loops; Glass Earth, Inc.; Poyekhali 3201; Dante Dreams; War Birds. Worlds: Sun-Drenched; Martian Autumn; Sun God; Sun-Cloud. Manifold: Sheena 5; The Fubar Suit; Grey Earth; Huddle. Paradox: Refugium; Lost Continent; Tracks; Lines of Longitude; Barrier; Marginalia; The We Who Sing; The Gravity Mine; Spindrift; Touching Centauri. Dreams (II): The Twelth Album.
From the Dust Returned

Ray Bradbury: From the Dust Returned (Morrow, 2001)

While From the Dust Returned is billed (it says so on the cover) as a "novel", it's a collection of interlinked short stories, much in the same way that The Martian Chronicles is a collection of interlinked short stories. True, there are common characters and a overall common theme, but I think that partly due to the length it took him to write this (1945 to 2000!) and the fact that most of the contents appeared in various collections over the years leads to something that is not quite a novel.

Not to say that it's a bad book. On the contrary, there are some great Bradbury tales here: The October People, Uncle Einar and The Wandering Witch, for example. There are wonderful Bradbury characters, and Bradbury's excellent use of many sources for his tales. And best of all, in this age of bloated authors (especially in the fields of science fiction and fantasy), there is Bradbury's sparse style. Like Clifford D. Simak and Arthur C. Clarke, Bradbury never uses four polysyllabic words when one or two brief (but piercing) words of description will do.

Counts as 25 contributions towards the 2004 Short Story Project.

Contents: Prologue: The Beautiful One is Here; The Town and the Place; Anuba Arrives; The High Attic; The Sleeper and Her Dreams; The Wandering Witch; Whence Timothy?; The House, the Spider, and the Child; Mouse, Far-Traveling; Homecoming; West of October; Many Returns; On the Orient North; Nostrum Paracelsius Crook; The October People; Uncle Einar; The Whisperers; The Theban Voice; Make Haste to Live; The Chimney Sweeps; The Traveler; Return to the Dust; The One Who Remembers; The Gift; How the Family Gathered.
Pulp Science Fiction at its Best

John W. Campbell, Jr.: The Black Star Passes (Fantasy Press, 1953)

A lot of my reading in 2004 was pre-Golden Age and Golden Age science fiction. What can I say? I have a admitted fondness for the pulps, for space opera, for the stories that appeared in Astounding Science Fiction and other magazines.

Probably no better example of the pulps and space opera can be found in the early stories of John W. Campbell, Jr. Known widely as an editor that helped launch the careers of a thousand Golden Age authors (either by bringing them into the fold at Astounding Science Fiction or by guiding them to maturity, a short sample of names would include Isaac Asimov, Theodore Sturgeon, Clifford Simak, Robert A. Heinlein and many, many others!)

Campbell had two other careers as a writer, before he had his career as an editor. In the second, he wrote stories under the pseudonym of Don A. Stuart. In these stories, he aimed for mood and scene. Among the classics to be found under that moniker are The Cloak of Aesir and the very scary Who Goes There?

Campbell's first writing career was the author of galaxy-spanning space operas. Stories filled with parsec-eating spaceships, hurtling planets, inventions crowding one upon another...trying to out do E.E. "Doc" Smith, Edmond Hamilton and the other practioners of the art. The Black Star Passes is made up of three stories about the famous inventing trio of Arcot, Wade and Morey: Piracy Preferred, Solarite and The Black Star Passes.

Of the three, the first is probably the weakest, mostly due to the plot. A deranged air pirate is attacking various cross-country airplanes, putting the passengers and crew asleep. He steals negotiable securities, bonds and the like and subsitutes shares in his company (hence the title). Aroct and Morey find a way of defeating the pirate and he is turned to good and becomes the third member of the trio (Wade). In the second tale, the trio turn their talents towards building a space ship and traveling to the planet Venus, where they discover (no surprise) a race of just-about-humans. In the third, the combined federation of Earth and Venus are invaded by the inhabitants (again, human) of the Black Star, which is (aha!) passing near our solar system. The Black Star is a dead star and the inhabitants are looking for something that's a bit warmer. After some super science battles, they retreat in defeat and the two solar systems do a swap, with us losing Pluto but gaining a couple of planets from the other solar system.

The stories are fast moving and light in terms of plot and character. The dialog, except where it bogs down in scientific mumbo-jumbo reminds me of a Howard Hawks film. Despite the creakniness brought on by the fact that so much of Campbell's science has proven to be wrong, I enjoyed reading these stories again after a multi-decade gap. In fact, I started off 2005 reading the second book of the series!

By the way, counts as three stories in the 2004 Short Story Project.
The Kif Strike Back

C.J. Cherryh: Chanur's Venture (DAW, 1985) and The Kif Strike Back (DAW, 1986)

Following up on last year's re-read of The Pride of Chanur, this year saw the re-reads of Chanur's Venture and The Kif Strike Back. It was the first time I had read these books since they were published in the 1980's.

Cherryh excels at creating believable alien societies (and characters). We just don't have men in suits (or with funny bumps on their foreheads) here. In fact, Cherryh succeeds so well in making a believable alien society that when members of that society interact with humans, you find the humans to be alien!

Chanur's Venture had some edge-of-the-seat page-turning action. The Kif Strike Back (the title, I understand, was proposed jokingly and was taken seriously!) is even more of a page-turner than Venture.

I should mention that I read both of these as eBooks from Palm. While I don't like Palm's approach (you need a code consisting of a combination of the name that appears on your credit card along with your credit card number to unlock the book), I do appreciate the fact that they've managed to include the map from the books and give you the ability to do bookmarks, notes, etc.
The Girl with a Pearl Earring

Tracy Chevalier: Girl With A Pearl Earring (Plume, 1999)

This year I tackled Girl With A Pearl Earring (Plume, 1999). After all, one cannot live on science fiction, military history and science fact alone (well, actually, why not?)...

I had seen the movie, so I had to read the book. At least I can say to my wife that I read one of her books this year and she has yet to read one of my books. So I can say I read one chick book this year.

I was somewhat disappointed, as I was hoping for more behind-the-scenes style stuff from the book. Sure, there is some narrative about technique, and some narrative about how paints were mixed, but that came through better, in my opinion, in the movie.

It was somewhat odd to read this one and Stephenson's Quicksilver in the same year. They overlap in terms of time frames and certainly give you give viewpoints on a interesting period in our history.

The big question: Would I read anything else by the author? Well, I gave my wife another book by Chevalier last Christmas, so maybe I’ll tackle that in 2005. And we’ll see if she reads any of my books!
The Songs of Distant Earth

The Songs of Distant Earth (Del Rey, 1986) by Arthur C. Clarke.

If you've read any/many of Clarke's short story collections, you've probably encountered Songs before. It originally was a short story. He took the core of that story and expanded it nicely. It's not a shoot-em-up, there's relatively little "action" but there is plenty of character and conflict. Earth sends out colonies as a series of robotic ships carrying genetic seeds. When the ship finds a habitable planet, the ship helps to raise the first generation of colonists, who then try to make it on their own. As there is no faster-than-light travel or communication, colonies spend long periods of time without hearing from the mother planet. The colony world of our setting is visited by a ship from Earth. It was not originally scheduled to visit, but has to stop to do repairs. There's a bit of interaction between the two groups, some positive and some negative. There's quite a bit of sadness, as the ship that is visiting is the last from Earth; Earth has been destroyed. Eventually both groups separate, with many changes. Like I said, not much action, but a lot of good writing. As with Clifford Simak and Ray Bradbury, Clarke manages to pack a lot of ideas into relatively few words.

And, as usual with the Clarke novels from Imperial Earth onwards, there's a good afterword that lists where he found the various ideas and concepts used in the story. I've found these afterword to be a bit dangerous for me, as they inevitably lead to massive purchases of books on subjects such as fractals, etc.!
The City and the Stars

The City and the Stars (Signet, 1957) by Arthur C. Clarke.

Inspired by a discussion on one of the groups I moderate, I'm re-read this (first time in about 30 years). I also plan to re-read Against the Fall of Night, an earlier, but fairly different, telling of the same story. You can definately tell that Clarke was influenced by people like John W. Campbell, Jr., Olaf Stapledon and J.D. Bernal. A solitary city is the last refuge of Man on Earth, or is it? One inhabitant of the city questions this and finds the truth. He travels across the Earth, and eventually into space to find out what Man's fate was.

One amusing bit to be found in some introductions to either book is a tale that Clarke tells about a psychiatrist and his patient. One had read Against the Fall of Night and the other had read The City and the Stars. The plots were different enough that they each were convinced the other was hallucinating.