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OtherRealms Issue 03
OtherRealms
A Fanzine for the Non-Fan
"Where FIJAGH Becomes a Way of Life"
Volume 1, Number 3
April, 1986
Table of Contents
Editorial: Son of News of OtherRealms and OtherStories
by Chuq Von Rospach, Editor of OtherRealms
Review: Dervish Daughter
by J.D. Johnston
Review: Smithsonian Magazine
By Barbara Jernigan
Article: Listening to Science Fiction
by John Wenn
Reviews: Golden Bough: Great Music in the Eclectic Folk Genre
by Barbara Jernigan
Readers Survey: The Monthly Question to Our Readers
Pico Reviews
by Our Readers
Letters to OtherRealms
by Our Readers
Masthead: The Necessary Administrivia
Editorial: Son of News of OtherRealms and OtherStories
by Chuq Von Rospach
Editor of OtherRealms
OtherRealms is happy to welcome a new BBS. David Dyer-Bishop, Sysop of
The Terraboard in Minneapolis is making OtherRealms available to his
users. Terraboard can be accessed at (612)721-8967 and is Fidonet
number 14/341. It's got a strong emphasis on SF, writing and text tools.
* * *
I want to congratulate regular contributor Jim Brunet on his second
professional sale. His story "The Devil, the Cat, and the Copywriter"
will be seen in an upcoming issue of Pandora magazine. Pandora is
semi-annual, and subscriptions are available from Empire Books, P.O.
Box 625, Murray, KY 42071. Jim's story is likely to be published in
either 9/86 or 3/87. I've read it, and it is well worth looking for.
* * *
I'm also happy to announce a new author in our fold, someone I hope to
see a lot of in future issues of OtherRealms. Barb Jernigan joins us
with a review of Smithsonian Magazine, the first article in what I hope
will be a long relationship.
* * *
You will notice that this issue is the April issue, while last issue
was the February issue. No, March did not simply disappear. I decided
that I wanted to adopt the industry tradition of predating issues.
Since I publish on the last Friday of a month, dating for the next
month will help keep things from getting confusing when I miss a deadline.
* * *
OtherRealms hit a critical point in its future, and I'm proud that it
happened this early in its life. For the first time I ran out of space
to publish things before I ran out of things to publish, so I'm now
running a backlog of material. This makes my life easier, since I no
longer have to do all the pasteup and formatting in the last week. It
shows the support that everyone is giving the magazine. Thanks!
Another related point is that this is the first issue that I'm not a
major contributor to. I'd planned two articles for this issue, but
when I ran out of space I decided that it was more important to print
other people's stuff. The fact that I no longer have to write to fill
the issue gives me a chance to write fewer but (hopefully) better
articles and keeps me from overwhelming the magazine with my viewpoint.
* * *
The Pico reviews continue to be the favorite part of the magazine. A
couple of people disagreed with my comments on some books (specifically
"Footfall" and "Pet Semetary") and so we have differing viewpoints on
those books this issue. If the Pico review section continues to grow,
I'll seriously consider splitting it into a second publication and give
it a life of its own rather than choke off the rest of OtherRealms.
Allowing multiple reviews of a title turns out to be a Good Thing. You
no longer have to be first to say what you think of a book. The ability
to build a consensus opinion of a work helps minimize a review that
overreacts. I also like being able to discuss books that aren't the
latest titles, since frankly I'm never caught up on all the books I
want to read and I don't know many people who are. No longer do you
have to feel guilty about not reading a book for six months, or two
years, or twenty for that matter -- not only should we be reviewing the
new goodies, we need to remember to help people find the books they
missed the first time out.
I hope to introduce the Pico Review summary next month. I've bought
Microsoft File for my Mac and that should make compiling the numbers
fairly simple. It will be interesting to see what the consensus view
on the books are.
I'm also planning to computerize my library over the next few months,
because I'm tired of never finding the story I want when I want it. As
I do so, I'll be putting most of the titles into the Pico reviews (at
least, the ones I remember reading well enough to review from memory)
to help fill out the database. This is one of the wonders of the Pico
review -- I find that if I wait a week between reading and reviewing a
work the review goes VERY slowly, but many Pico reviews are best when
time gives you a bit of perspective on the work.
* * *
Finally, the move to a moderated group on USENET is moving forward and
should be completed by the next issue. I'll be letting the affected
people know what to expect and how to deal with the change. This
change will free me of some extensive administrative details, but more
importantly will significantly widen the reading audience of
OtherRealms, improving its voice in the genre, its visibility, and (I
hope) bring in some new readers and writers to our pages.
Review: Dervish Daughter
by Sheri S. Tepper
$2.95US, Tor, ISBN0-812-55612-7
Reviewed by J.D. Johnston
ihnp4!icarus!jj
Copyright 1986 by J.D. Johnston
This book is hard to explain without giving away too much. The "Lands
of the True Game" are on a very unusual planet with an even more
unusual ecology. "Dervish Daughter" is the fifth (in a manner of
speaking) in a series of books detailing the ecology and the problems
caused by the human (introduced) population.
Shari Tepper has written three sets of books set in this intensely
complicated and singularly deceptive environment. The first set of
books, the three "True Game" books, detail the common human (psionic,
after a fashion) abilities on this world, and develop one major
character, Peter. We meet Jinian, the central figure of the third set,
in the last of Peter's books. The second set of books, the "Mavin
Manyshaped" books, are of historical interest to the first and third
sets. They are stylistically much different, written from a more
personal viewpoint, and less concerned with the world and ecology.
The third set, the "Jinian" books, consists to date of two books,
"Jinian Footseer" and "Dervish Daughter," with a third book
forthcoming. Stylistically similar to the first books, they describe
the growth and discoveries of Jinian. Jinian's meeting with Peter is
described in the first of these books, "Jinian Footseer".
Like Peter, we meet Jinian as an adolescent, mostly sheltered, and very
unschooled in the way of the world. Again like Peter, Jinian is
unusually talented, both in ability and the form of the ability.
The similarity doesn't matter. "Dervish" is quite interesting, very easy
to read, and fascinating, at least if you've read the "True Game" books
and the first Jinian book. The interlocking of the various plot elements
among the True Game books and the Jinian books is remarkable, even though
the books stand reasonably well on their own as isolated stories.
Tepper is a good storyteller. The prose is simple, the plot incredibly
complicated, the clues opening more questions than they close. There are
a number of riddles involved. The characters are developed and credible
and the world-universe remarkably well developed, fertile and complicated.
All in all, "Dervish Daughter" rates a [***+] or [****-]. It's the
middle of a series with the necessary weak ending and there is a
feeling that "there's something MORE going on here." The problems are
becoming clear and there is a hint to the solution. Given Tepper's
talents, however, I would suspect that there's more than the eye can
see, even at this point.
Although I don't have all of the books handy, here is a quick review of
the rest of the series:
"King's Blood Four" [****-] We meet Peter, the "Gamesmen" are
introduced, and the first signs of trouble appear. It's a good story,
but it ends in the middle and makes one want to know more.
"Necromancer's Nine" [***+] Peter starts to grow up, and the reader
starts to better understand the "True Game." We start to meet the
original inhabitants of the world. It also ends in the middle, but
with some resolution.
"Wizard's Eleven" [****-] Peter meets a Wizard and we understand the
basics of the game, but we also discover that there is something beyond
the game. Coincidentally, we see a trouble fixed, uncovering greater mystery.
The three "Mavin" books. [**-] to [***-] They may matter, but if so,
they do NOT stand on their own. To agree with another reviewer, "... a
character you don't care about doing things you don't care about..."
You care a bit more if you've read the True Game books, but you still
don't care a whole lot.
"Jinian Footseer" [****-] Aha! So THAT's what they're here for! Or
is it? What IS the wise-art? I really don't want to say too much, but
things certainly start hopping, and you get a good idea of some of the
unsaid things in "Wizard's Eleven," as well as a taste of something
bigger that you meet in "Dervish".
Review: Smithsonian Magazine
Reviewed by: Barbara Jernigan
idi!oliveb!olivej!barb
Copyright 1986 by Barbara Jernigan
You may be wondering why I'm reviewing a magazine here -- and a
non-SF/Fantasy magazine at that. In his first editorial, Chuq
suggested that we look beyond the boundaries of our genre ghetto,
especially since the more "literary" works are casting cross-culture
allusions. Besides, OtherRealms also includes other disciplines in its
definition -- not to mention the fact that our lives are richer for the
experience of looking through new perspectives.
Seriously, though, "Smithsonian" magazine (published by the Smithsonian
Associates) is a monthly romp through a diverse selection of topics.
Its articles are quite readable and knowledgeable; indeed, I consider
this magazine a complimentary twin to "National Geographic," with
writing, photography, and illustrations of the highest quality. While
"National Geographic" takes a scientific tone, "Smithsonian" leans a
bit more toward the humanities, though these distinctions are often
blurred. "Smithsonian" and "National Geographic" simultaneously
printed the same article on the Creation of the Universe in May, 1983
-- and I preferred "Smithsonian's" graphics.
Any issue of "Smithsonian" will have something for every interest,
beginning with the editorials. "Around the Mall and Beyond" tends to
deal with current events at the Smithsonian. The latest issue talked
about Gene Kelly, who is hosting the upcoming national broadcast
"American Treasure -- A Smithsonian Journey," which, "to an
extraordinary extent [...] manages to synthesize the essential gut
feelings of our sprawling, bewildering, complex and much-beloved
Institution."
"Phenomena, comment and notes," is a musing on particular scientific
discoveries. This month, for example, explores why "an apparently
stable ecosystem may require disturbances, some small as an ant mound,
to keep it that way." "Points of Origin" discusses our origins. And,
finally, there is always a tongue-in-cheek guest spot reserved for the
last page (i.e. "A few words on behalf of the Brontosaurus" -- "After
eons and eons of living a virtuous life in primeval swamps, and some 65
million years buried under the arid plains of the West, what is
"Brontosaurus'" reward? Some smart-aleck writer comes along and says he
never even existed. Without even an 'Oops!' or a 'Sorry.'")
The meat of the magazine is diverse -- these examples are from the
March 1986 issue. For the Naturalist, "Polar Bear Capital of the
World," Churchill, Manitoba, "where the lords of the Arctic are
tolerant of human intrusion." For the artist/American historian, "How
is the Alamo remembered?," "Differently -- as the author discovered
when he tried to do an accurate painting of the battle." This article
is as much about history and myth surrounding and "clouding" the
circumstances of important events of our past as about art.
For the paleontologist and aerospace engineer there's "Flying as they
did 65 million years ago," chronicling the creation and flight-testing
of a "battery-powered pterosaur replica ... [that] actually flies by
flapping its wings." For History (again -- but such is "Smithsonian's"
slant) and architecture buffs, there is "The ugliest buiding in
America," the eye-sore to treasure story of the Old Executive Office
Building. For art History fans, "The delights of a doomed society"
telling of a superficial French artist, Boucher, who "painted
exquisitely the heedless pleasures of aristocrats."
Psychology and Sociology is met in "Making Faces just comes naturally,"
a fascinating article discussing the universal meaning and importance
of human facial expressions. American history and sociology are nodded
to in "The offspring of the tourist cabin," a history of the pre-chain
motels. History and art history again appear in the entertaining
article, "Who was the lady of Vix?" Noble Woman or Madam, "we'll never
know, but her grave -- discovered by a French schoolteacher -- sheds
light on antiquity. Finally, "When propaganda was 'Spreading Manure'"
is a filmmaker's personal account of his valuable education received
while working under director John Ford in World War II.
There is also an interesting letters section, and at least one or two
book reviews, usually non-fiction titles.
In addition to this diverse, entertaining, and enlightening magazine,
your subscription also gives you a National Membership in the
Smithsonian Associates. Membership benefits include 12 issues of
"Smithsonian," participation in the Associates' Travel Program, Member
privileges and discounts at the Smithsonian Institute (Washington, DC)
and Cooper-Hewitt Museum (New York City), and book and gift discounts.
Smithsonian Books are marvelous -- high quality publications covering
everything from the History of the Sunday Comics to Space, Time, and
Infinity. The Smithsonian catalog has something for all tastes and
price ranges, from art and artifact reproductions to the latest in
high-tech toys from color-theory tops to space shuttle ties.
It's difficult to encapsulate such a panorama of experience in a few
words. If this teaser hasn't sold you, by all means pick up the real
thing which can be bought for $2.50 per issue from book and magazine
stores. Subscriptions are available for $18 (outside USA $28 in US
funds) with your name and address to:
Smithsonian Institution Membership Data Center
P.O.Box 2953
Boulder, Colorado 80321
Article: Listening to Science Fiction
by John Wenn
wenn@gandalf.cs.cmu.edu
With the technological marvel of the portable tape player, the
popularity of listening to fiction has grown enormously. Go into any
chain bookstore and you will see many tapes available in most genres.
Listening to fiction is definitely convenient; you can listen to a
favorite book while jogging, biking, or on long trips. Even apart from
its convenience, hearing the sound and the rhythms of prose is a
different experience than reading it on a page. I like to listen to
poetry or Shakespeare, but never get the same enjoyment out of reading
them. Listening to fiction also has advantages over seeing the same
thing on TV or at the movies. The pictures of well loved characters
never quite match what one expected. One has similar problems with how
characters sound, but it isn't usually as big a problem.
When talking about audio fiction, several distinctions should be made.
One distinction is if the work was originally designed to be heard, or
if it is an adaptation of another work. For the most part, books are
adapted, but on occasion movies are adapted as well, like Star Wars.
On the whole, original material works best since it was designed with
the strengths and weaknesses of the medium in mind. Adapting material
also has its own special problems. The main problem with adapting
books is that there is far too much material to be presented, so books
always end up abridged. This is not necessarily as big a problem as in
the movies, since you can have long adaptations (4 hours, 12 hours, or
more), but most of the tapes you see are one hour. I prefer long
works, since you get a much richer feel for the book in question.
Another distinction is if the tape is a dramatic presentation or a
reading of the work. Dramatic presentations can get quite elaborate
with many different people doing voices and complex sound effects. A
good dramatic presentation gives you a marvelous sense of actually
being in the work. This is the same approach used by radio in its
heyday of the 30's and 40's.
On the other hand, a reading is one or two people reading from the
book. How well this works depends greatly on who is reading. A poor
reading can leave one confused on what is happening and who is talking
at any time. A good reading infuses each character with a life of his
own. It is hard to find a reading that can match reasonable dramatic
presentation, but it is possible.
Now I give you reviews of seven audio SF works. I've grouped them into
three groups, to help contrast each of the works.
The Hobbit by J.R.R. Tolkien [***+]
Read by Nichol Williamson. Argo Records. ZPL 1196/9. 4 records.
Hard to Find
The Lord of the Rings by J.R.R. Tolkien [***]
12 one hour tapes. Produced by 'The Mind's Eye' for National Public
Radio. Widely available in a large wood box.
Tolkien is the ultimate example of something impossible to adapt. Both
movie versions ('The Hobbit' by Rankin-Bass and 'Lord of the Rings' by
Bakshi) were massive failures. The length, depth and scope of both
books are awesome; everyone sees their own vivid images of people and
places that are impossible to reproduce. Listening has far fewer
problems, but the voices of the characters are never what one would
wish (Gandalf and elves are especially hard to do). Listening,
however, does have the advantage of hearing the wonderful rolling
rhythms of Tolkien's prose.
These are two examples of quite different successful adaptations. "The
Hobbit" is a reading by Nichol Williamson. Nichol Williamson is a
English Shakespearean actor. This experience is used in good stead as
he gives a rich array of different English accents for each of the
characters. The adaptation is good, with no major scenes cut, and most
of the dialogue kept. There is a minimum of sound effects, just a bit
of music now and then.
"The Lord of the Rings" is a full dramatic presentation. Full sound
effects with many actors doing voices gives a nice realistic feel of
the book. The adaptation is also quite good, with only a few of my
favorite speeches cut short. The voices, on the whole, aren't as good
(Elrond and Galadriel are quite bad), but some of the voices are
delightful (Treebeard in particular is wonderful). This is balanced by
being a full dramatic production. While neither of these are the last
word in dramatic presentations of Tolkien, they are quite enjoyable.
Hitchhikers Guide to the Galaxy by Douglas Adams [****+]
BBC radio production. 12 half hour episodes. Occasionally
broadcast by National Public Radio.
Hitchhikers Guide to the Galaxy by Douglas Adams [***]
2 records. Hannibal Records. HNBL 2301
The Restaurant at the End of the Universe by Douglas Adams [***+]
1 record. Hannibal Records. HNBL 1307
HHGTTG has been done in virtually all possible mediums. Radio,
records, TV, books, talks about movie deals, and I've heard about a
stage play. But the original and best was the radio production. The
marvelous voices (Marvin, The Book, Arthur Dent, and the rest), the
great rhythms of dialogue and narration, and marvelous sound effects.
You haven't lived until you hear the robot choir sing the "Sirius
Cybernetics Corporation" song.
The first six radio episodes closely match the records, TV series, and
first 2 books. The last six radio episodes don't have anything to do
anything other media presentations. They are very funny. The records
are cheap imitations of the radio production. They have scenes cut,
the voices aren't as animated, and the sound effects aren't as good.
If you can't get a copy of the radio production, however, they are
still quite funny. Now there is a book that has the original radio
scripts, entitled "The Original Hitchhikers Radio Scripts" [Harmony
Books, $9.95, ISBN 0-517-55950-1]. In addition to having material not
in the radio presentation, it has many interesting comments by Mr. Adams.
Ruby [****]
65 short episodes/4 1 hour tapes. $25.00. Produced by
ZBS Foundation, RR #1, Fort Edward, NY 12828
Ruby 2 [**-]
65 short episodes/4 1 hour tapes. $25.00.
Produced by ZBS Foundation
Ruby is a 21st century galactic gumshoe. A good one. This is a great
series. Wonderful wit, fantastic sound effects, amazing music,
marvelous voices, and that hardest of qualities to create: STYLE. Ruby
is smart, tough, and sexy. She loves blowing up things. She has been
hired to find out who is manipulating media reality on the planet of
Summa Nulla ('The High Point of Nothing'). A interesting cast of
characters complete the scene: the Toka (4 tentacles, 3 eyes, a blue
mustache, and wearing a red fez), T.J. Teru the archeologist ("I love
the feel of plastic - plastic makes me hot"), the Mole people, who love
mole-dy old puns, Angel Lips the android, Slimys (bio-genetically
engineered assassins), the Android Sisters, and many others.
The short-episode format makes for a different method of presentation.
It was designed to broadcast a 3 minute episode each day/week, which
makes for a slightly repetitive style. "Ruby" is not tightly plotted;
by the end of the series there are plot holes large enough to drive a
small moon through. It is still great, though. "Ruby 2" is a massive
disappointment. It stars a different Ruby (which isn't bad in itself),
has a far less interesting plot, retains only the least interesting
characters from the first series, has a very muddy plot, and just
doesn't have the spark of the first series. It still has very high
production values, but the story doesn't justify them.
Reviews: Golden Bough
Great Music in the Eclectic Folk Genre
Reviewed by Barbara Jernigan
idi!oliveb!olivej!barb
Periodically, in the drudgery of our day to day, we are lucky enough to
stumble upon a Pearl of Great Price, a bit of sunshine in the grey
expanse of sameness. Golden Bough is just such a gem.
I first discovered Golden Bough at the King's Mountain Art Faire, one
of the best in the San Francisco Bay Area. This foursome (Florie
Brown, Leif Sobye, Paul Espinoza, and Margie Butler) endeared
themselves to me with their musical repertoire, spanning traditional
Welsh to songs of the California gold-fields. They are balladeers,
accenting their well-blended voices with lively arrangements of flute,
recorder and penny-whistle, lap harp and accordion, violin, mandola,
mandolin, and guitar.
When, the following year, we were again delightfully serenaded at
King's Mountain, we were even more delighted to discover Golden Bough
produced albums. Three, in fact: THE BOATMAN'S DAUGHTER, FLIGHT OF
FANTASY and, for Christmas, WINTER'S DANCE (Kicking Mule label). We
immediately ordered all three, and found more delight in store.
As I said, the Golden Bough foursome may be described as balladeers.
Their tone is reminiscent of Great Halls and wandering minstrels -- the
same and yet modern, as if retelling and recapturing the magic of faery
tales. Our ears and fantasies were treated to an elegant blending of
voice and instrument in interesting and lively arrangements -- to our
wonder and delight greatly written by the group members themselves.
Here is no meer replaying of lost voices, but the minstrel's vibrant
spirit blooming again to life.
Now I play and you listen, friend.
Dance to the tune at your journey's end.
Leave this world, now you begin,
Fly with me tonight.
("Flight of Fantasy," Paul Espinoza)
Dare to fly with the music of Golden Bough. If you like the music of
eclectic folk you will *not* be disappointed. Cassettes and albums of
the three titles may be purchased directly from Golden Bough. Enclose
$8.98 for each and send to GOLDEN BOUGH, P.O. Box 11288, Oakland, CA
94611. Prices include Special 4th Class Postage and handling.
California residents add 6.5% sales tax.
Reader's Survey for April, 1986
Last month we set up a book list for a college SF class. This month,
we do the same for a Fantasy class: name the five to ten books you would
use to teach an introductory course in Fantasy at a college or university.
And the obligatory: What do you like most about this OtherRealms? The
least? Please drop me comments and any suggestions you might have.
* * *
Reader's Survey Report for February
Last month the survey asked for five to ten books you would use to
teach an introduction to SF course at a college. I got 11 lists, with
a total of 67 nominations of 51 different titles from 42 authors. They
are listed below, sorted by author.
Author Title Votes
====== ===== =====
Anderson, Poul No Truce With Kings 1
Asimov,Isaac The Caves of Steel 1
End of Eternity 1
The Hugo Winners 1
The Golden Age, Vol I 1
I, Robot 2
Bester, Alfred The Demolished Man 1
The Stars My Destination 1
Blish,James A Case of Conscience 1
Bova,Ben SF Hall of fame Vol IIa 1
SF Hall of fame Vol IIb 1
Bradbury, Ray Fahrenheit 451 2
Martian Chronicles 3
Brunner, John A Stand on Zanzibar 2
Total Eclipse 1
Burroughs, E.R. Princess of Mars 1
Carr,Terry Universe 13 1
Chrichton,Michael Andromeda Strain 1
Clarke,A.C. Childhood's End 3
Tales from the White Hart 1
Clarke/Proctor SF Hall of fame Vol III 1
Cowper Custodians 1
Delaney,Sam Einstein Intersection 1
Nova 1
Doyle,A.C. Lost World 1
Ellison,Harlan Ellison Wonderland 1
I Have No Mouth and I Must Scream 1
Forward,Robert Dragon's Egg 1
Haldeman,Joe Forever War 1
Heinlein, Robert A. The Moon is a Harsh Mistress 2
Starship Troopers 1
Stranger in a Strange Land 3
Time Enough for Love 3
Herbert,Frank Dune 3
Hogan,James The Genesis Machine 1
Hoyle, Fred The Black Cloud 1
Keyes, Daniel Flowers for Algernon 1
Leguin, Ursula, K. Left Hand of Darkness 3
The Word for World is Forest 1
Lem,Stanislaus Return from the Stars 1
Star Diaries 1
McCaffrey,Anne The Ship Who Sang 2
Miller,Walter A Canticle for Leibowitz 3
Niven,Larry Ringworld 1
Niven/Pournelle Inferno 1
A Mote in God's Eye 3
Pohl,Fred Gateway 1
Silverberg,Robert SF Hall of Fame Vol I 3
Simak,Clifford City 2
Smith,E.E. (Doc) First Lensman 1
Triplanetary 1
Tolkien, J.R.R. Lord of the Rings 1
Twain, Mark Birth of a Comet 1
Varley,John Persistence of Vision 1
Verne,Jules Journey to the Center of the Earth 1
Vonnegutt,Kurt Slaughterhouse Five 1
Wells, H.G. The Shape of Things to Come 1
The Time Machine 3
Williamson,Jack Legion of Space 1
Windham The Day of the Triffids 1
Zelazny,Roger Lord of Light 3
It's a good list, and you won't go wrong choosing any of them. Here
are some books I would have chosen that didn't get into the main list:
Adventures in Time and Space edited by Healy and McComas --
First published in 1946, it has 33 stories, all Golden
Year classics. The single best anthology I have ever found.
Dangerous Visions by Harlan Ellison -- controversial choice, but
it matches AiTaS perfectly, giving an anthology view of
SF in the 60's.
Davy by Edgar Pangorn -- good post-holocaust book. Earth Abides
by George Stewart would work just as well.
Needle by Hal Clement -- Alien encounter novel with a good mystery
style spy thriller attached.
Murder and Magic by Randall Garrett -- great alternate universe story
Dying Inside by Robert Silverberg -- Another PSI oriented story,
very person oriented, very dark mood.
OtherRealms Pico Reviews for April, 1986
BLACK STAR RISING, by Frederik Pohl [***]
del Rey, 214 pages [Science Fiction Book Club edition]
I've liked most of the Pohl that I have read, and this is no
exception. In a post-holocaust world, the Chinese have picked up the
pieces and are building a new society. However, their plan is
interrupted when aliens come to meet the President of the United
States. An interesting twist to the alien invasion story, with aliens
trying to restore the US to its former glory.
-- Shane P. McCarron
ihnp4!meccts!ahby
CHALLENGE OF THE CLANS, Kenneth C. Flint [*]
Bantam Books, 328 pp, $3.50
An average quality book about a stock theme: Father killed, Mother exiled,
Son grows up to be a super warrior to avenge them both. Flint can do better.
-- Russ Jernigan
idi!oliveb!olivej!barb
THE CHROMOSOMAL CODE by Lawrence Watt-Evans [*]
Avon Books, $2.50
The Earth is in an ice-age, and helpful aliens have happened along just
in time to save humanity. They ask nothing in return, at least until
they find the one man with the gene's they were looking for in the
first place. This is an idiot plot; if people acted with any
intelligence it would be over on page twelve. It relies far too
heavily on coincidence to survive a critical reading.
-- chuq von rospach
ESCAPE VELOCITY, by Christopher Stasheff [****]
Doubleday, 224 Pages [SFBC (To The Magic Born)]
This is a prequel to the famous THE WARLOCK IN SPITE OF HIMSELF, and
tells the story of how the planet Garmarye came to be. It is
incredibly humorous, as well as being as very good book. Stasheff
creates some very likable characters, and spins them through harrowing
adventures. A must for any Warlock fan!
-- Shane P. McCarron
ihnp4!meccts!ahby
FOOTFALL, by Larry Niven and Jerry Pournelle [*]
del rey, 495 pages, $17.95
Don't even buy the paperback, but borrow it from someone. Pournelle
has said that due to too many commitments by one or the other of them,
they were writing 20,000 words a day just before deadline. The final
product reflects it. In terms of disasters and size of cast, it is
similar to Lucifer's Hammer, but nowhere near as polished. Too many
plot threads are introduced and either abandoned or summed up in a
sentence. Characters are introduced and then ignored or removed with
no opportunity to sympathize with them. I don't think any character or
even a group of characters can be thought of as the protagonists,
except perhaps the aliens. In summary, if Nivnelle had done another
draft or two, it could have been the equal of Hammer, but the book
reads like a first or second draft.
-- tyg
galloway@isib.arpa
HEROES IN HELL created by Janey Morris [*]
Baen Books, $3.50
Janet Morris tries to recreate the popularity of Thieves' World in a
new collaborative anthology. This is the first of eight contracted
anthologies, and the first of two contracted novels is also out. The
concept is silly (a day in the life of Hell, as the guerilla's attempt
to overthrow Satan and nothing quite seems to work right) the plots are
for the most part banal, and the characters are unsympathetic. The
writing is simplistic and the continuity is questionable. In other words,
they borrowed all of the worst parts of Thieves' World and forgot to
include what makes it worthwhile. The only story worth reading is
"Newton Sleep" by Greg Benford (discussed in my editorial in V1.1) and
available in a recent F&SF. Find the magazine, avoid the book.
-- chuq von rospach
ISHMAEL (a Star Trek novel) by Barbara Hambly [***]
Pocket 1985, 255 pages, $3.50
This Trek novel is great fun and a wonderful use of cross-universe. A
Klingon attempt to change history by time travel leaves Spock in the
world of the western series "Here Come the Brides". Passing characters
to look for, never mentioned by name, turn up from Star Wars,
Galactica, four incarnations of Doctor Who, Bonanza, Maverick, and Have
Gun, Will Travel. Barbara Hambly knows more about westerns than Trek
though, and three glaring errors in Trek background got past the
editor, including the inexcusable mistake of calling Vulcan Vulcanis.
-- Mary Anne Espenshade
...!{allegra,seismo}!umcp-cs!aplcen!aplvax!mae
JINX ON A TERRAN INHERITANCE, by Brian Daley [***]
1985, Del Rey, $3.50
JINX is a direct sequel to REQUIEM FOR A RULER OF WORLDS. If you have
not read the first book, JINX will be *very* confusing. On the other
hand, if you have read REQUIEM, do read JINX, even if REQUIEM left you
lukewarm. As you may have gathered, I found this book MUCH more
interesting than the first in the series (REQUIEM). Yes, I did say
"series," the adventures of Hobart Floyt and Alacrity Fitzhugh are
obviously just beginning. And I, for one, will be happy to buy them as
long as Daley can keep the quality up.
-- Russ Jernigan
idi!oliveb!olivej!barb
KILLING TIME (a Star Trek novel) by Della Van Hise [*]
Pocket 1985, 311 pages, $3.50
Similar starting plot to ISHMAEL, but this time the Romulans are trying
to change the past. Few redeeming features. The author copped out of
writing the characters in character by setting 90% of the book in the
altered universe. After reading nearly the same time travel plot done
well in ISHMAEL and done VERY well in THE PROTEUS OPERATION, the weak
handling of it here was even more annoying. The handling of time travel
and the Romulan background information are not consistent with the series.
-- Mary Anne Espenshade
...!{allegra,seismo}!umcp-cs!aplcen!aplvax!mae
LITTLE MYTH MARKER, by Robert Asprin [***]
Starblaze Edition, 1985, Donning Co.
This is the sixth book in a very tongue-in-cheek series about Skeeve,
an apprentice/journeyman mage, and Aahz, a demon from Perv ("That's
PreVECT... and don't you forget it!") who is Skeeve's Master/partner.
As those of you who have read any of the previous books know, Skeeve
and Aahz have the ability to get into the most hilarious scrapes. In
Skeeve's case this is usually by being too nice to somebody; in Aahz's
case it usually involves money. LITTLE MYTH MARKER is no exception.
The quality of the MYTH books continues to be high. Instead of beating
a tired horse, Asprin continues to introduce fresh horses (and zebras,
quaggas, gnus, dragons, griffins...).
-- Russ Jernigan
idi!oliveb!olivej!barb
LITTLE MYTH MARKER by Robert Asprin [***]
The Donning Co. 1985, 172 pages, $7.95 (Starblaze Edition)
Sixth in the Myth Adventure series. The Great Skeeve tries his hand at
dragon poker - with the usual unpredictable and pun-ny results. The
end leaves the characters set up for another volume. If you've enjoyed
the series so far, don't miss this one. There is some review of what
has gone before at the beginning, but probably not enough for someone
who hasn't read the rest of the books.
-- Mary Anne Espenshade
...!{allegra,seismo}!umcp-cs!aplcen!aplvax!mae
A MAN CALLED MILO MORAI, by Robert Adams [***]
Signet books, $3.95, 221 pages
Volume 14 in Robert Adams' Horseclans series continues Milo's
reminiscences, this time going back to the Great Depression and World
War II. One gets the feeling Adams is not as comfortable describing
the contemporary period as he is with the typical post-holocaust
setting. Still, the story is a good one that will interest any
reader. Those unfamiliar with Milo will find a believable tale of
people struggling against adversity; only later does it become apparent
that not everything is as it seems. Old Horseclans fans will revel in
this story as they have been waiting years to find out more about
Milo's background. [Warning: sexual content may offend some readers]
--rick heli
UUCP: {ucbvax,lll-lcc}!ucdavis!ccrrick
ARPA: ucdavis!ccrrick@ucbvax.berkeley.edu
THE MAN WHO NEVER MISSED by Steve Perry [***]
Ace Science Fiction, 1985. 195 pp. $2.95 (Mass-market).
This book has it all; Sex, Drugs, and Violence. It is better than it
sounds. The novel concerns a soldier who has a cosmic flash which
causes him to reevaluate his values. He decides the universe must be
changed and then prepares himself to change it. His motivations and
preparations are almost believable even if all his abilities are not.
Good entertainment. [Warning: sexual content may offend some readers]
-- Aydin Edguer
decvax!cwruecmp!edguer
MATADORA, by Steve Perry [***]
Ace Science Fiction, 1986. 211 pp. $2.95 (Mass-market).
The sequel to 'The Man Who Never Missed'. The protagonist is a woman,
and picks up about 3 years after the previous book leaves off. A
little bit more mystical than the previous book, it still receives 3
stars for its treatment of the female characters. All are strong
characters who are as good as if not better than their male counterparts.
Surprise ending. [Warning: sexual content may offend some readers]
-- Aydin Edguer
decvax!cwruecmp!edguer
MISS THISTLEBOTTOM'S HOBGOBLINS: THE CAREFUL WRITER'S GUIDE TO THE
TABOOS, BUGBEARS, AND OUTMODED RULES OF ENGLISH USAGE
by Theodore M. Bernstein [****+]
Simon and Schuster, $6.95
A great book on English Grammar, Bernstein uses a series of letters to an
imaginary high school teacher to explore all of those rules that are taught
by teachers that simply don't work. A good guide to a writer trying to
learn when it is reasonable to break the rules and explore the language.
-- chuq von rospach
MYTHAGO WOOD, by Robert Holdstock [*****]
Arbor House, 215 pages [Science Fiction Book Club edition]
Certainly the creepiest book I've ever read, MYTHAGO WOOD is a surreal
account of an ancient wood in post-WWII England. Within this wood the
mythos of ages past are still active, just waiting to be created by the
minds of a family who live on the wood's edge. This winner of the
British Science Fiction Association's Best Novel award is the best
thing I have read this year. I strongly recommend it to anyone who
appreciates mythology, the macabre, or both.
-- Shane P. McCarron
ihnp4!meccts!ahby
PET SEMATARY, Stephen King [*-]
Signet, $4.50, 410 pages
I picked this book up in a moment of boredom, I apologize. A collection
of cheap thrills and horrifying senseless slaughter. King has some
real writing skills which he uses to write schlock, I couldn't
stand the subject and never finished the book. Classic Stephen King.
-- Richard Loken
ihnp4!alberta!auvax!tech
THE PROTEUS OPERATION by James P. Hogan [****]
Bantam 1985, 403 pages, (Book Club Edition)
I've enjoyed several of Hogan's previous hard-SF novels, so when a
friend offered to loan me his SF Book Club edition, I snatched it right
up. The plot centers around attempts by several groups to change and
counter-change history by traveling back in time. Part quantum mechanics
text, part WWII spy thriller, it's probably even more enjoyable to
someone with a good knowledge of European history immediately leading up
to WWII (I kept a history book at hand to follow the changes).
- Mary Anne Espenshade
...!{allegra,seismo}!umcp-cs!aplcen!aplvax!mae
QUESTIONS YOU ALWAYS WANTED TO ASK ABOUT ENGLISH (BUT WERE AFRAID TO
RAISE YOUR HAND) by Maxwell Nurnberg [***+]
Washington Square Press, $2.95
A good technical overview of English Grammar. This book gives good,
solid and accessible advice on how to improve your writing. Combined
with "Miss Thistlebottom's Hobgoblins (see the pico review this issue)
you have the two books on English that any serious writer should read.
-- chuq von rospach
SUNDIVER by David Brin [**]
Bantam, $2.75
Not as good as Startide Rising, Dave Brin writes a good mystery that
suffers from very convenient plot devices. The technology needed to
fly around inside the Sun is fascinating, but the are just too many
coincidences leading to the climax for my taste.
-- chuq von rospach
THE VULCAN ACADEMY MURDERS (a Star Trek novel) by Jean Lorrah [***]
Pocket 1984, 280 pages, $3.50
Excellent Trek novel. Jean Lorrah is known in Trek fandom for her
writings on Vulcan culture and it shows here. As a murder mystery
though, the story is transparent, I had the intended victim, murderer,
motive and method solved before the first murder took place and I
didn't even peek at the ending.
-- Mary Anne Espenshade
...!{allegra,seismo}!umcp-cs!aplcen!aplvax!mae
THE WILD SHORE by Kim Stanley Robinson [****]
Ace Science Fiction, $2.95
Superficially similar to Vinge's "The Peace War," this book is set in
the same locale and time frame (post holocaust California) and a very
different book. Where Vinge has a high-tech society, Robinson has
written about the Agrarian/Scavenger people. Robinson deals with the
people instead of the hardware and the result is a very satisfying book
with very real characters.
-- chuq von rospach
WITCH BLOOD, by Will Shetterly [*]
Ace Fantasy, 1986. 197 pp. $2.95 (Mass-market).
A book with nothing outstanding about it. Little or no character
development, low on motivations, and I never really empathized with the
hero. Finding the solution to the hero's 'mysterious' background was
the only reason to finish the book. It wasn't worth the wait.
-- Aydin Edguer
decvax!cwruecmp!edguer
THE WHITE PLAGUE, by Frank Herbert [****]
Putnam, 467 pages [Science Fiction Book Club edition]
The White Plague is a book in the true Herbertian tradition; A single
force taking on the superior forces of an entire world and defeating
them. If you like that sort of thing, then this book is great! The
central character designs a plague that will kill all the women on the
planet if it isn't stopped. Good drama from beginning to end, as well
as excellent character development. As with all Herbert books, I hated
the ending -- but I've learned to accept that.
-- Shane P. McCarron
ihnp4!meccts!ahby
OtherRealms Lettercol -- April, 1986
Dear Editor,
I'm writing this letter is to talk about the current state of the SF
marketplace and to provoke a discussion on reviews, reviewing and so on.
Like you, I've just tried to read "Footfall" (Niven & Pournelle) but I
tossed it down in abject nausea after about 100 pages. In a similar
way, I've read about a dozen SF books in the past month or so and only
ONE of them was worth reading. That's pretty bad! In fact, that's far
lower than the usual hit ratio when you consider that a number were by
authors I had previously liked.
Why is this? First off, to be frank, I've been moving away from the
hard core SF books that I enjoyed in College but mostly it seems that
authors are rushing to hit the post-StarWars boom in the SF marketplace.
There is, in a nutshell, a LOT of crap out there! And it seems to be
relatively pervasive - even the good authors are being hit by the
malady. Part of the problem is that there is indeed a rather large
marketplace for SF so that almost anything written and published will
have at least a few thousand sales.
One of the reasons that the worst swill can sell well is that SF people
don't always talk to each other And that's why stuff like the "Pico
Reviews" in this fanzine are worthwhile - If we can get more information
about books then we can perhaps make shrewder decisions on
which to buy and which not to.
On the other hand, how useful are reviews until you've read a few books
that the review comments on? Not very since sometimes you can find
someone who is diametrically opposed to your tastes and can sort of
look for the ones the review pans and avoid the ones they like (this is
usually the way one deals with film critics :-). A case in point - a
lot of people on the net have been raving about Brust and especially
about "To Reign in Hell". I went out and bought it and, even after I'd
overcome the form of language that the author uses, didn't like it at
all. I just didn't give a damn about the characters halfway through
the book, and that's a bad sign.
This doesn't mean that it isn't a good book, however. I'm just trying
(in a somewhat unintelligible way) to provoke some thought and
discussion on the variety in SF and potential schemes for avoiding the
slumps much like the one I'm in...
Dave Taylor
ihnp4!hpfcla!d_taylor
[Editor's note: Am I the ONLY person in the world that liked Footfall?
Seriously, Dave has some good points. Many people find that their tastes
change over time. I cut my teeth on Bradbury, yet now I rarely read him.
I went through a phase where all I read was Vonnegut and Ellison, and
then "hard" SF and finally what I call "people" SF and Fantasy. Every
time you shift it takes a while to find a new set of authors. Some
people leave the genre completely; I once spent almost a year reading
only mysteries before coming back, for instance. I think this feeling
is natural, but that doesn't help the disorientation or burnout you
feel when NOTHING looks good to you. Anyone got ideas on how to get
over this hump, besides simply reading as much variety as possible?
Hard SF is making a comeback, and a good one, with Niven back in form
and Greg Benford, Vinge, Bear and Forward in the pack. As big as Hard
SF is, though, the real winner in the market right now is Fantasy, and
that is where most of the schlock is, unfortunately. For every good
work of Fantasy such as Brust's work, we seem to be inundated by dozens
of quest books, of quickly translated D&D dungeons, and lots of Tolkien
Clones. This is where the term "buyer beware" take on a life of its own.]
Chuq,
The art of reviewing has always caused me some bemusement. From the time
we are first-graders we are plagued with the omnipresent (and for most
forbidding) task of writing book reports. These book reports, alas,
assigned with little care and teaching of style, enforce some very bad
habits -- the greatest of which is the plot synopsis -- or, "Yes, flame
you, I read the book, and here's my proof, so leave me alone, will ya?"
Try to make your review interesting to read. Pico Reviews are nice in
that they are short. But if you're going to go beyond a few
paragraphs, the review becomes an *entity* in its own right, which
means the writer has a responsibility to the reader. A review is
worthless if no-one will read it.
Which is not to say I'm God's gift to reviewing -- but I do have a tip
or two for learning. I have a Bachelor's Degree in Fine Arts. I have
at least 12 art history courses locked away in the shady corners of my
memory. In art history, they teach you to write a review. And what a
review -- sometimes one can get so caught up in the language of
reviewing that the article begins to take on an independent life of its
own -- like Frankenstein's Monster. I'll give an example (from an
article by Dan Hofstadter on Boucher, an eighteenth century French painter):
Looking recently at a grisaille sketch for his *Venus Asking
Vulcan for Arms*, I found myself wondering how much of
[Boucher's] notion of painting is actually retrievable for
modernity... Unlike Rubens, his esthetic grandfather, he
doesn't work his figures up to the expression of some richly
suggestive action; he unfolds them rather, as one might a
string of papers dolls. The human figure becomes a decorative
unit like a tapestry flower or a bird; its limberness or
ductility is used not to express feeling but simply to create
variety. In earlier, high-Baroque painting, every religious or
mythological episode is transparent: the shapes and colors spin
a palpable metaphor for some aspect of the human condition. In
Boucher, by contrast, the pageant becomes opaque: the poses of
his sylphs and cupids are gorgeously looped and festooned
together without ever adding up to an emotional sum.
The eyes can get indigestion reading passages like this -- but they are
the norm in art reviewing. This is because art reviewing and critiquing
are intertwined (and perhaps because the review should be as much
artifice as the reviewed -- artists and would-be artists reviewing
art). I always felt a bit silly going to such extremes -- though there
was something sinfully heady in the challenge of "what obtuse allusion
can I hit them with this time?"
Seriously though, there is still something to be learned here -- first,
in the attempt to view the work with something more than superficial
interest; second, there is as much discussion in how the work is put
together (in the arts: brushstrokes, light and dark, coloring...) as of
its subject. This does not mean that superficial works cannot be
discussed critically. Indeed, the article on Boucher closes,
[Boucher] is not concerned with defying or upholding any sort
of code; he cares only for vividness and dazzle. He is very
like one of those wonderful charlatans who used to strut upon
the boards of the theaters [...] like a charlatan with a false
nose and a slipping wig, in a scarlet waistcoat or a
cornflower-blue waistcoat, who stays only long enough to sell
Tasmania to a gullible young man... only long enough to win one
laugh from the audience, then turns toward the wings and is gone.
Of course, it is much more concise (and perhaps honest) to say, "Let's
face it, folks, Boucher's work is a forgettable assault on the
eyeballs." And this is appropriate -- for a Pico review -- but it's not
nearly as much fun.
But I must confess some tongue-in-cheek here -- I do not suggest we
write in the ebullient style of the art critiquers, only that we look
at them for thought. They represent an extreme -- perhaps the opposite
extreme -- of synopsis.
I would suggest the would-be reviewer look at famous literary
reviewers. I've just discovered Shaw -- highly entertaining -- and
educating. And he is not a fluke; indeed, a great many writers over
the ages have augmented their incomes by the book review. Magazines
are another good source for book review examples ("Smithsonian,"
"Atlantic Monthly," any number of [book] specialty magazines, your
monthly book club brochure...). Observe -- critically -- and learn.
Barb Jernigan
idi!oliveb!olivej!barb
Masthead for OtherRealms
Volume 1, Number 3
April 1986
This issue is Copyright 1986, by Chuq Von Rospach
All Rights reserved
OtherRealms is edited and Published on a monthly schedule by:
Chuq Von Rospach
160 Pasito Terrace #712
Sunnyvale, CA 84087
USENET: {major_node}!sun!plaid!fanzine
ARPA: fanzine%plaid@sun.ARPA
Fidonet: 125/84, user chuq vonrospach
CompuServe: 73317,635
Submissions: Submissions are welcomed at any of the above addresses.
Electronic mail is preferred, Macintosh format disks through U.S. Mail
will allow me to publish your work MUCH faster (returned with SASE).
Hardcopy is accepted but will get keyed into the system when I get time.
A writers guide is available. If you are interested in writing
articles for OtherRealms, please ask for a copy. Pico reviews are
welcome from everyone. Duplicate the format used in this issue and
please limit your comments to one paragraph. Multiple Pico reviews for
the same work are welcome.
If you are on a BBS or other system that does not have access to the
above electronic addresses, contact your SYSOP about making
arrangements for a submission policy.
Letters to the Letter column: should be mailed to the above address.
Letters to an author should be mailed directly to the author where
possible. If you can't reach an author, I'll do what I can to get the
letter forwarded. All letters will be considered for publication
unless requested otherwise.
Deadline for submissions for the next issue is April 20, 1986.
All material in this magazine is Copyright 1986 by Chuq Von Rospach.
One time rights only have been acquired from the signed or credited
contributors. All rights are hereby assigned to the contributors.
Reproduction rights: Permission is given to reproduce or duplicate
OtherRealms in its entirety for non-commercial uses if all associated
copyright notices and bylines are left intact. Re-use, reproduction,
reprinting or republication of an individual article in any way or on
any media, printed or electronic, is forbidden without permission of
the author or rights holder. Reproduction of subsets of an issue of
OtherRealms is permitted only if all bylines, copyright notices and the
masthead and table of contents areas are included in the reproduction.
Subscriptions: Subscriptions are available on the USENET, ARPANET,
BITNET and CSNET computer networks. Send mail to the appropriate
address above to be placed on the mailing list. Subscriptions are not
yet available on CompuServe. Please write me for latest status.
OtherRealms is also available through the following bulletin boards:
SCI-FIDO, Fidonet number 125/84, (415) 655-0667.
The Terraboard, Fidonet number 14/341, (612)721-8967.
Other BBS systems or computer networks are welcome to make OtherRealms
available on their systems. Either copy it from an available location
or contact me to make arrangements. If you do make it available, I
would appreciate hearing about where it is being distributed.
Coming attractions
o A discussion of cooperative anthology/novel, looking at "Liavek,"
"Thieves' World," and "Heroes in Hell"
o Chuq really, honestly tries to print his article (announced in the
first issue for last issue) on the St. Germain Chronicles. Really.
o Barb Jernigan returns with an article on the importance of keeping a
journal in a writers life.
And, of course, Pico reviews, other reviews, and the letter column.
