The New York Review of Science Fiction

Issue #239 July 2008

Damien Broderick: The Dark between the City and the Stars: 1

Joe Sanders: Tidings of Discomfort and Joy: Neil Gaiman’s “Murder Mysteries”: 1

Karen Burnham: Gender Identity in a Post-Human Future: Glasshouse and Schild’s Ladder: 14

Tom Purdom: When I Was Writing: A Literary Memoir: Installment Three: Psi Fi: 18

Darrell Schweitzer: An Interview with Lisa Tuttle: 21

REVIEWS

Brian Francis Slattery’s Spaceman Blues: A Love Song, reviewed by Stacie Hanes: 5

A Cross of Centuries: Twenty-five Imaginative Stories about the Christ, edited by Michael Bishop, reviewed by Jenny Blackford: 6

Inferno, edited by Ellen Datlow, reviewed by John Langan: 10

Inferno, edited by Ellen Datlow, reviewed by Niall Harrison: 11

The James Tiptree Award Anthology 3, edited by Karen Joy Fowler, Pat Murphy, Debbie Notkin, 

and Jeffrey D. Smith, reviewed by J. G. Stinson: 16

Theodore Judson’s The Martian General’s Daughter, reviewed by John Clute: 17

PLUS

Screed (23) and an editorial (24).

ISSUE #240 August 2008

ISSUE #240 August 2008

Volume 20, No. 12 ISSN #1052-9438

ESSAYS

Mike Barrett: Greye La Spina: Weaver of Weird Tales: 1

Eugene Reynolds: Genre Bender, or, the Perilous Process of Processing Literature: Kim Wilkins’s Giants of the Frost: 1

Jonathan McCalmont: Hell is the Singularity: Existentialism and Rudy Rucker’s Postsingular: 16

Kate Bonin: Undermining Cinderella: Lois McMaster Bujold’s The Sharing Knife Series, So Far: 18

John Nizalowski: The View From Above: 19

Kevin Shaw: Reading “The Argonauts of the Air” in the Dark: 22

REVIEWS

Thomas M. Disch’s The Word of God, reviewed by Darrell Schweitzer: 6

L. E. Modesitt, Jr.’s Viewpoints Critical: Selected Stories, reviewed by Michael Levy: 11

Karl Schroeder’s Pirate Sun, reviewed by James Cambias: 12

A Lovecraft Retrospective: Artists Inspired by H. P. Lovecraft, edited by Jerad Walters, reviewed by Peter Rawlik: 13

Vandana Singh’s Of Love and Other Monsters and Ali Smith’s Girl Meets Boy, reviewed by Niall Harrison: 14

Robert J. Sawyer’s Rollback, reviewed by Joe Milicia: 16

PLUS

Plus: A Singular Interview (7), lots of Screed (23), and a pat on the back (24). 

 

Kathryn Cramer, Art and Web Site Editor; Samuel R. Delany, Contributing Editor; Kris Dikeman, Associate Managing Editor.

David G. Hartwell, Reviews and Features Editor; Kevin J. Maroney, Managing Editor.

Staff: Ann Crimmins, Alex Donald, Eugene Reynolds, and Eugene Surowitz. 

Special thanks to Avram Grumer, Arthur D. Hlavaty, Lisa Padol, and Christine Quiñones.

Published monthly by Dragon Press, P.O. Box 78, Pleasantville, NY 10570.

$4.00 per copy.Annual subscriptions: U. S. Bulk Rate, $40.00; Canada, $44.00; U. S. First Class, $50.00 

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Please make checks payable to Dragon Press, and payable in U.S. funds.

Send all editorial inquiries and submissions to <dgh@tor.com> and <kjm@panix.com>. 

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New York Review of Science Fiction Home Page: www.nyrsf.com

Copyright © 2008 Dragon Press.

Why We Fight, or, Someone Gets Us!

From NYRSF ISSUE #240, August 2008

As we were preparing this, our Twentieth Anniversary issue, we received the following letter. The flattery in it turns our modest little heads; but even more than that, if we had set out to write a summary of what we hope to accomplish in publishing this magazine, we could not have done better than Dr. Gannon does. As such, we will let it stand as our statement as we celebrate the arrival of our third decade.

—David G. Hartwell, Kevin J. Maroney, 

and the eds.

Charles E. Gannon, St. Bonaventure, New York

Just a week before Balticon, I found myself laid low by a bout with bronchitis. Dismal, but it provided me a long-overdue excuse to get to my back-reading—some of which has been languishing on my shelf for four or even five years. But despite using every moment of illness and then recuperation to achieve this end, I failed. The fault was not mine: it was NYRSF’s. Why? Because it was too damned interesting to speed-read.

There’s something about reading several years of a periodical’s or journal’s publication all at once which imparts an intense (as if distilled) appreciation of its broader content and significance. So although I did not come away from this condensed reading experience with any new sense re: the excellence of the individual articles (they are almost always superb), I did discover that I had obtained a macrospective view of NYRSF that was both far stronger and nuanced than any which I had enjoyed before. In the first place, it was a delight to find myself quickly caught up in the crests and swells of five years of flowing and learned (as distinct from “academic”) discussion of sf/f literature. Having recently withdrawn from full-time tenured classroom work (and the often fustian and highly mannered scholarship which such a career makes advisable, even obligatory), this was not only a singular treat but a great reassurance: you have succeeded in your evident quest to keep sf scholarship from becoming solely an academic enterprise. In my (limited) knowledge of literary studies, I can think of no other publication which functions so successfully as a generally accessible forum for, and record of, the evolution of any field or genre of literature. And it is worth adding that the fashion in which it achieves this is even more remarkable and unprecedented: open to all opinions, and all contributors, it nonetheless has created its own oeuvre, which might best be described (paradoxically) as laid-back belles-lettres. Over the course of two days, I found dueling opinions on the social impact of sf, of the (un?)likelihood of the Vingian singularity, of “mundane sf,” of the “true” meaning of “space opera.” And yet, despite the many theoretical thrusts, ripostes, and parodic feints, NYRSF never devolved into the terse and bitter range wars that can dominate academic criticism, nor veered into the trackless chaos of rants, flames, and personal denunciations of the blogosphere. In a world where arguments and issues seem to become increasingly polarized, and debaters have become almost reflexively hostile and quick to snatch up the saw-toothed flechettes of ad hominem attacks, NYRSF remains a bastion of not only learned, but civilized discussion.

One final observation: it is rare that any literary field leaves a chronicle of its own evolution—of how the matrixed variables of changing market realities, cultural sensibilities, personal careers, and reclaimed manuscripts (and much more) blend together to shape its ever-changing identity. Thanks to NYRSF, sf/fantasy/speculative fiction (insert your own term here) possesses such a chronicle, and more. For whereas a chronicle is but a collection of events, arranged in their order of occurrence, NYRSF in toto is a history built in part from learned observation, and in part from the reports of individuals who have worked within the field. This is not to say that, read in its entirety, NYRSF offers an “objective depiction” of the field: not only do I doubt that there is such a thing as a truly “objective depiction,” I consider it as oxymoronic a concept as one is likely to encounter. However, in both its breadth and depth of view, and in the profound catholicity of its editorial vision, the NYRSF is as fine a resource and a record as any one could hope for in any field of literary study—whether academic or not.

Hmmm: I guess I’ll renew my subscription after all.