Don Dixon’s canvas (“Jupiter Seen from Io”) for Omni (June, 1979), ed. Ben Bova and Frank Kendig
The following review is the 10th post in my series searching for “SF short stories that are critical in some capacity of space agencies, astronauts, and the culture which produced them.” Some stories I’ll review in this series might not fit. And that is okay. I relish the act of literary archaeology.
As always, feel free to join the conversation!
Previously: Frederik Pohl’s (as Paul Flehr) “The Hated” (1958)
Ken Barr’s cover for the 1981 edition of Roger Zelazny’s The Last Defender of Camelot (1980)
3.5/5 (Good)
Roger Zelazny’s “Halfjack” first appeared in the June 1979 issue of Omni, ed. Don Dixon. You can read it online here. I read the story in the The Last Defender of Camelot (1980).
Here are the next three stories of my series exploring Carol Emshwiller’s short stories (published between 1955-1979) in chronological order. And if you missed it, Part I contained her first three stories.
Emshwiller’s next three science fiction stories, all published by Robert A. E. Lowndes, are polished fables utilizing standard genre tropes (alien possession, humans abducted by aliens, etc.) to highlight humanity’s encounter with itself in idiosyncratic and grim ways. I am particularly entranced by the stories told from a non-human perspective. This distancing effect allows Emshwiller to play with tone (“Bingo and Bongo”) and spin macabre horror (“Nightmare Call”).
While lacking the intense power of “Animal” (1968) (the best story of hers I’ve read so far), all three are worth the read for fans of clever weirdness.
Ed Emshwiller’s cover art for Future Science Fiction, #31 (Winter 1956-1957)
“Bingo and Bongo” (1956), 3.5/5 (Good): First appeared in Future Science Fiction, #31 (Winter 1956-1957), ed. Robert W. Lowndes. You can read it online here. In William Tenn’s Of Men and Monsters(1968) and F. M. Busby’s Cage a Man(1973), humans are imprisoned like lab rats by distant and truly alien aliens. The captives learn just enough about their world and captors in order to escape. Emshwiller brilliantly inverts the perspective. “Bingo and Bongo” is told from the perspective of an alien, a “Mother-Father-Aunt” entity with children, who believes humans are little more than non-sentient pets. The Mother-Father-Aunt’s progeny want new humans after the unfortunate death of their last in an escape attempt (they didn’t want to pay the money to have him professionally healed).
The following review is the 9th post in my series searching for “SF short stories that are critical in some capacity of space agencies, astronauts, and the culture which produced them.” Some stories I’ll review in this series might not fit. And that is okay. I relish the act of literary archaeology.
Robert Foster’s cover for the 1969 edition of Turn Left at Thursday (1961)
3.75/5 (Good)
Frederik Pohl’s “The Hated” (1958) first appeared in the January 1958 issue of Galaxy Science Fiction, ed. H. L. Gold. He wrote it under the pseudonym Paul Flehr. You can read it online here.
“The Hated” (1958) postulates that astronauts will require psychological conditioning to survive the confines of space travel to Mars. In Pohl’s future, the Mars-craft crams six men in a space the size of a Buick (51). The continuous sounds of machine and crew, the fetid taste of the air filled with sweat, the omniscient fear of crushing your oxygen line while sleeping, the free fall, the dreams of drowning, generates an intense drive to kill your crewmates. Byron, the narrator, wants a knife for Sam, to strangle Gilvey with his bear hands, gun Chowderhead with one bullet to the belly, turn a tommy gun on Wally, and cage the captain with hungry lions. The conditioning is “like a straightjacket”–Byron elaborates: “You know how to make a baby cry? Hold his hands […] What they did to us so we couldn’t kill each other, it was like being tied up, like having out hands held so we couldn’t get free” (50).
Ed Emshwiller’s interior art for Carol Emshwiller’s “The Piece Thing” in Science Fiction Quarterly (May 1956)
I have decided to do something I have never done before–read a contiguous chunk of an author’s work in chronological order. “Philip K. Dick? Robert A. Heinlein?” you might ask. “No! You know me….” I respond [in jest]. I have chosen to chart Carol Emshwiller’s short stories published in genre magazines and anthologies between 1955 and 1979. SF Encyclopedia conveys my fascination best: “In her hands, sf conventions became models of our deep estrangement from ourselves.” Of the two short stories of hers I’ve read–“Animal” (1968) and “Lib” (1968)–the former, an unnerving fable of the sexualized “Other” whose exclusion reinforces a community’s self-identity and cohesion, resides in my mind like a luminescent beacon. And I have finally latched on to its ever-present light.
If you are interested in all of Emshwiller’s short stories, check out Nonstop Press’ 2011 (vol. 1) and 2016 (vol. 2) omnibus release which includes those in non-SFF genre magazines. Here’s an example of what I am cutting: while her first published short story “Built for Pleasure” was SF, it only appeared in Long Island Suburban (November 1954) before the omnibus. Instead, I will start with 1955’s “This Thing Called Love” in Future Science Fiction,#28, ed. Robert A. W. Lowndes.
As I’ve only scratched the surface of Emshwiller’s output and can’t adequately summarize her work (I hope to by the end of this project), here’s the blurb from the Nonstop edition:
“Crossing the boundaries between fabulist literature, science fiction, and magical realism, the stories in this collection offer a valuable glimpse into the evolution of Carol Emshwiller’s ideas and style during her more than 50-year career. Influenced by J. G. Ballard, Steven Millhauser, Philip K. Dick, and Lydia Davis, Emshwiller has a range of works that is impressive and demonstrates her refusal to be labeled or to stick to one genre. This exhilarating new collection marks the first time many of the early stories have been published in book form and is evidence of the genius of Emshwiller, one of America’s most versatile and imaginative authors.”
This series will happen concurrently with the other short story reading exploration I am conducting and other reviews I have planned. Caveat: like my attempt to watch and reviewSurvivors (1975-1977), this series could stop after three posts or take five years. I am a reader of whim.
Her next three published short stories can be found in Part II.
Rudolph Belarski’s cover for Future Science Fiction,#28 (1955)
“This Thing Called Love” (1955), 3.5/5 (Good). First appeared in Future Science Fiction,#28 (1955), ed. Robert A. W. Lowndes. You can read the story online here.
Bill Botton’s cover for the 1970 edition of Project Barrier (1968)
3/5 (collated rating: Average)
In the early days of my site, I reviewed Daniel F. Galouye’s best-known novel Dark Universe (1961) and A Scourge of Screamers(1966). Since then I’ve attempted to read Simulacron-3 (1964), adapted into a fantastic German mini-series World on a Wire (1973) and The Thirteenth Floor (1999), three times without success. What can I say, I’m a reader of whim and in each instance I wasn’t in the mood. Maybe it was Bill Botton’s compelling/bizarre psychedelic cover for Project Barrier (1968) or perhaps Rich Horton’s comments on twitter about the title story but I decided to give Galouye’s short fiction a go.
Project Barrier (1968) contains four uneven tales with one notable standout–“Rub-a-Dub” (variant title: “Descent Into the Maestrom”) (1961)–which I highly recommend if disturbing psychological SF is up your alley. The others in the collection exude a more run-of-the-mill feel. I found it refreshing that Galouye, a veteran greatly impacted by war injuries, tends to eschew violent conflict for peaceful resolution.
The following review is the 8th post in my series searching for “SF short stories that are critical in some capacity of space agencies, astronauts, and the culture which produced them.” Some stories I’ll review in this series might not fit. And that is okay! I relish the act of literary archaeology.
Up next: Frederik Pohl’s (as Paul Flehr) “The Hated” (1958)
Vincent Di Fate’s cover for the 1st edition of The Best of Philip K. Dick (1977)
4/5 (Good)
Philip K. Dick wrote “A Little Something For Us Tempunauts” (1974) after a two-year hiatus. He explains that a friend brought by a copy of John T. Sladek’s brilliant “The Poets of Millgrove, Iowa” (1966) that spurred him to write again: “the first sf story in years that galvanized me into new life—like Kant reading Hume.” He further explains that Sladek’s satirical deconstruction of the cult of the astronaut “can stand in the ranks of the all-time great short stories in the English language” and that it “changed in a flash my entire conception of what a good sf story is” (source). I, too, adore Sladek’s story. One of three authors– along with Barry N. Malzberg’s general characterization of astronauts and the space agency and Samuel R. Delany’s “Aye, and Gomorrah” (1967) that inspired this series.
Irene Schram’s near-future (?) shocker Ashes, Ashes, We All Fall Down (1972) subjects a fifth-grade class and their teacher to a terrifying series of violent travails at the hands of emotionless men. Told mostly from the perspective of the young students who write their thoughts in a school notebook, Schram presents a wide-ranging critique of contemporary American society (pollution, Vietnam, police brutality, et al.). Despite the resilience of children, society will win. There’s no light at the end of the tunnel. I found Ashes, Ashes an occasionally successful exercise in epistemological displacement and the effects of normalized trauma weakened by a lack of focus and moments of excess that verge on comical.
Paul Gillon’s La survivante (The Survivor) (1985-1991) is a four-part erotic SF “bande dessinée” marketed as “ADULTS ONLY.” The first two volumes were translated into English by Dwight Decker and published in 1990. This is a review of volume 1. It’s sexually explicit, post-apocalyptic, and French. It’s Barbarella (1962-1964) 80s style, but the new 60s sexual liberation of the later is recast as campy exploitation… Other than the front cover below, I have not included images of the kaleidoscope of sexual acts and nudity–male, female, and andromorphic robot–included within the mere 47 pages. Take my word for it.
Aude Albrespy emerges from her aquatic escape from a nuclear war to a transformed world. Her partner “died trying to escape” and his skeleton greets her emergence from the depths (1). Ravenous and nude, she traverses the scarred landscape hunting for canned food and survivors. A few humorous interludes transpire.
The following review is the 7th post in my series searching for “SF short stories that are critical in some capacity of space agencies, astronauts, and the culture which produced them.” Some stories I’ll review in this series might not fit. And that is okay! I relish the act of literary archaeology.
Thank you Antyphayes, “Friend of the Site,” for bringing this story to my attention!
Richard Powers’ cover for the 1956 abridged edition of The Astounding Science Fiction Anthology (1952)
“Cold War” (1949), 3.5/5 (Good). You can read it online here. I read it in First Step Outward, ed. Robert Hoskins (1969). Now let’s dive into the psychological hellscape that is militarized SPACE!
Science Fiction and Other Suspect Ruminations 