(Richard Corben’s cover for the 1977 edition)
4.25/5 (collated rating: Very Good)
The 1977 Annual World’s Best SF, ed. Donald A. Wolheim and Arthur S. Saha (1977) is a glorious anthology of SF published from the year before containing rousing works by the established masters (Isaac Asimov and Brian W. Aldiss), philosophical gems from New Wave icons (Barrington J. Bayley), and gritty and disturbing commentaries on masculinity by the newer voices (James Tiptree, Jr.). While Richard Cowper and Lester del Rey misfire, the overall quality is high for a large anthology of this nature.
“Appearance of Life,” Brian W. Aldiss, 5/5 (Near Masterpiece): On the planet Norma, “less than a thousand light years from Earth,” a vast architectural mass, created by the mysterious and extinct Korlevalulaw, straddles the planet’s equator: “the construction neatly divides the planet into a northern land hemisphere and a southern oceanic hemisphere” (7). A micro-section of the building, its original purpose unknown, serves as a vast museum—staffed by twenty human women and a legion of robots—of humanity’s expansion across the stars. Specialized Seekers—who can piece together a “gestalt view of the [museum’s] contents” (9)—travel to the museum to undertake research for universities. Normal visitors access the spectacular collection via remote projections.
The story follows a Seeker investigating whether “human voices [over the millennia] were gradually generating fewer phons or, in other words, becoming quieter” (9). The theme of loss of connection, via speech or decreasing contact between humans, runs throughout the story. The Seeker himself reflects: “I hardly met with another human for one year’s end to the next, except on my visits to the Breeding Centre” (7). Within the museum the Seeker finds two featureless cubes, which at the sound of the correct voice a “head appeared three-dimensionally inside them” (13). These cubes, created by a brain-scan, are able to respond to set words and voices. In this case, the cubes were exchanged hundreds of years in the past by estranged lovers caught up in a forgotten war. However, the cubes were recorded at different times in the lovers’ lives–the cubes repeat their explanations of separation and declarations of love without “understanding” each other. The Seeker, filled with despair at their inability to communicate as a microcosm of a greater affliction plaguing man, flees to a desolate world promising to communicate with no one.
Aldiss, in such a short story, pairs “vastness” (the expanse of the building itself, mankind’s galactic expansion, the Korlevalulaw and their mysteries) with the “intimate” (the relationship between the husband and wife, trapped in their bobbles, trapped in the past, trapped in an unknown conflict). It is powerful and mysterious. Aldiss at the height of his powers.
“Overdrawn at the Memory Bank,” John Varley, 4.75/5 (Very Good): My first John Varley story is a winner! Fingal, fresh off a vacation at the Kenya disneyland underneath the surface of Mars—where he hunted prey and got his food stolen as a female lion low on the lion hierarchy—accidentally gets his mind placed in a computer after the vacation company loses his body. While a company agent attempts to find the missing body, Fingal after grappling with the terror of his situation, figures out he can recreate whatever environment he chooses. At the prompting of the agent, he continues to go about his daily life as if he were back at work. Fingal experiences time at a different rate than those on the outside…. and his ordeal stretches into years.
As the months pass by, Fingal’s sanity and willingness to go about the life as if he were back at work wears thin: “What was getting to him was the growing disgust with his job. It was bad enough where he merely sat in a real office with two hundred real people shoveling slightly unreal data into a much-less-than-real-to-his senses computer. How much worse now, when he knew that the data he handled had no meaning to anyone but himself, was nothing but occupational therapy created by his mind and a computer program to keep him busy while Joachim searched for his body?” (37).
Varley’s mind-stuck-in-a-computer premise is not the most original scenario—but he tells it with such vigor, off-handed horror, and touches of comedy that I couldn’t help but be pulled in. Highly recommended.
Tangent: This story was turned into a horrific TV movie in 1983.
“Those Good Old Days of Liquid Fuel,” Michael G. Coney, 4.5/5 (Very Good): An another impressive coming of age tale from Coney, the wizard of writing nostalgia and childhood angst in a stirring way…. Like his novel Hello Summer, Goodbye (variant title: Rax) (1975), Coney creates a reflective vision of childhood that doesn’t slip into the melodramatic saccharine but rather explores the power of nostalgia and memory as an anchor in an ever changing world.
Sagar returns to a vast launch site in Pacific Northwest where “obsolete liquid-fuel ships […] doomed for the breaker’s yard” used to make voyages into space (54). Now anti-grav orbit shuttles operate out of small decentralized spacesports. Sagar, with his friends and enemies, spent his youth in an abandoned shelter on the vast airfield, watching spaceship arrivals and departures. He remembers the dangerous competitions and swings of power among the children who spent their free time in the shelter, the cataloging different ships, the arrival of girls into their ranks….
Coney traces a lovely and raw vision as Sagar wanders the ruins, his memories initially shadows: “I was vaguely dissatisfied with the place. The memories were there, somewhere, but they would no come to life. They were lost in decay and growth and the strange indescribable way a landscape will rot, when not frequently revisited” (66). When Sagar sees the wreckage of a particular spaceship, his memories really come alive.
“The Hertford Manuscript,” Richard Cowper, 3/5 (Average): For my thoughts, see my earlier review of Richard Cowper’s short story collection The Custodians (1976).
“Natural Advantage,” Lester del Rey, 2/5 (Bad): The Star captain Anthor Sef and his crew are ordered to take a fifteen year detour to instigate first contact with an alien species in order to warn them about an exploding sun that will destroy their planet. After contact, which goes far too smoothly, differences in human vs. alien ability perceive objects makes conveying the nature of the impending disaster difficult. While the aliens appear to have advanced technology, humans have the real drive to innovate and adapt in difficult situations…..
This weak story would be a home in a bland volume of a 1950s SF magazine. Wollheim mentions in the intro that Del Rey deliberately “recreat[ed] the gold old-time premise of Man the Unbeatable” (109). Avoid.
“The Bicentennial Man,” Isaac Asimov, 5/5 (Masterpiece): Won the 1977 Hugo, Locus, and Nebula Award for best novelette. Asimov’s stirring tale follows the life of an android, who wants to be human, over hundreds of years. What gives the story power is its longue durée, which gives Asimov the lens to highlight evolving views of humankind towards robots. The anti-android prejudices do not fade. The legal fight is ongoing and relies on proactive, often symbolic, victories for real progress to be made.
I did not expect to like Asimov’s classic story. I can confidently state that it’s a classic for a reason.
“The Cabinet of Oliver Naylor,” Barrington J. Bayley, 4.5/5 (Very Good): A compelling and bewildering story filled with metaphysical implications…. Humanity wanders the solar system in small personal spaceships. Oliver Naylor, ensconced with a mysterious passenger in his spaceship, invents the thespitron: a TV able to absorb persona, and then replay/create endless cinematic variations involving versions of himself in a world of film noir, Humphrey Bogart, and Barbara Stanwyck. The narrative itself spins off, as a film noir would, in paranoid directions as Naylor’s passenger reveals himself as a secret agent attempting to track down a woman-abusing criminal.
Bayley, perhaps commenting on fiction’s constant reworking of tropes, parallels the seemingly random and entropic creations of the thespitron with Naylor’s own story that appears as recombinant fragments pasted together.
“My Boat,” Joanna Russ, 4.5/5 (Very Good): The second of Joanna Russ’ Cthuhlu mythos stories, “My Boat” is a dreamlike tale, reworking elements from H. P. Lovecraft’s novel The Dream-Quest of Unknown Kadath, of a cynical Hollywood agent telling the story of his youth–desegregation in an all-white high school theater department. The placement of Lovecraftian dreams into the realm of America’s racial tensions is genius.
I will confess, I read Lovecraft in my days as an undergrad in college around a decade ago and cannot speak on the details of her references. However, “My Boat” is a fascinating and multi-layered story. I cannot do justice to it. If you are intrigued, check out this discussion on Tor.com and this review.
“Houston, Houston, Do You Read?” James Tiptree, Jr., 5/5 (Masterpiece): Won the 1977 Hugo and Nebula Award for best short novella. A fever vision of a story reworking standard SF tropes in terrifying ways—in this case, three male astronauts emerge from a mission around the sun into a transformed and alien future with only (cloned) women. Will the men be allowed to enter female society? Or, are men even needed? An uncomfortable and hallucinatory condemnation of male impulses (heightened by the influence of drugs) and misogyny….
“I See You,” Damon Knight, 3.5/5 (Good): Nominated for the 1977 Hugo Award for best shot story. The invention of an “image intensification device” transforms society. Smith, the inventor whose family died in a past accident, spends his time in a lab creating a device that allows the viewer to peer anywhere into the past. You can view the assassination of JFK (a must have historical reference in a 70s time-travel short story!), the room and moment when you were conceived, the important events in the lives of your children…. Knight, in a series of voyeuristic vignettes, strangely suggests that the image intensification device will be a positive invention: “In a house in Cleveland, a man watches his brother-in-law in the next room, who is watching his wife getting out of a taxi [.] She rings the bell beside the door marked 410. The door opens; a dark-haired man takes her in his arms; they kiss. The brother-in-law meets him in the hall. ‘Don’t do it Charlie” (275). Violent confrontation averted. Divorce initiated.
The devices changes how humankind views the past. Old movies with their infantile half-nudity no longer intrigues, but rather how the characters look at each other in a world where so much remains hidden, “the coyness, the side-long glances, smiles, grimaces, hinting at things that will never be shown on screen” (276). Careful moments and observations like this elevate Knight’s societal observations. An odd but intelligent speculation told in a detached manner. I am not as optimistic as Knight is about such a surveillance state even in its democratized form (each individual has access to the same power).
(Jack Gaughan’s cover for the 1977 edition)
For more book revies consult the INDEX.