Saturday, March 5, 2011

Incoming!


Newly rec'd these last several days:
*"Vin Packer" (Marijane Meaker): Something in the Shadows/Intimate Victims and Whisper His Sin/The Evil Friendship (Stark House)...I wonder if "Anne Perry" and "Packer" have ever conversed over that last, like the film Heavenly Creatures based on the adolescent crime "Perry"/Hulme was involved in.
*Ellery Queen's Mystery Magazine. Jon Breen is going semiannual with his column. Alas, but thirty years of monthly, or nearly monthly, columns is a lot to keep asking for more on top of...
*Fantasy & Science Fiction. Interesting Lucius Shepard take on the film Monsters

*T.V. Olsen: The Stalking Moon. The Leisure edition.
*Michael Chabon: Gentlemen of the Road. Or, "Jews with Swords" as Chabon would've had it, he notes. Managed not pick up either of these two before, and am amused the Chabon was published under the Del Rey Books imprint.


*Ecotone
*Asimov's Science Fiction...it is getting to be increasingly difficult to find new issues of the fiction magazines in the big box stores, my usual source for them...I haven't been able to pick up the new issue of The Strand or Cemetery Dance or Conjunctions for a bit, for example...
*Cinema Retro. But picking up a few odd items where and when I can...

From the mailbox:
*Harper's has a rather good short story from Daniel Mason, no relation, and another opportunity for William Vollmann to make an ass of himself, even though his cover essay's subject, the homeless in his affluent California city, is an important one which doesn't lend itself to masturbatory self-celebration...which hasn't ever stopped him before.

*Alfred Hitchcock's Mystery Magazine, the humor issue
*Esquire, the typically trivial issue (though I suppose one can appreciate, for example, cheesecake photos of Sarah Shahi...among others...though not in this issue...)
*Sight and Sound, the attempt to defend auteurism issue (which is why the feature articles in the magazine tend to be weak, of course)

Books strongly considered: the newish Vonnegut collection of short stories; the newest two Joyce Carol Oates collections and her widowhood memoir; Peter Beagle's anthology The Hidden History of Fantasy.

In the secondhand store: a few annuals (O. Henry and Best American Short Stories), a couple of recent issues of The Gettysburg Review, a book club edition of Mazzeo's Hauntings, an Anthony Boucher anthology, a Peter De Vries novel. Spoiling myself, as with finally buying the cd of this:


The Brubeck Quartet album that Joe Morello told me he thought was their best recording, At Carnegie Hall.

Friday, March 4, 2011

FFB: THE COMPLEAT OVA HAMLET by Richard Lupoff (as illustrated by Trina Robbins and introduced by Philip Klass aka William Tenn) among others...


It's 1977, and my friend Steven Durost has just flashed a copy of a magazine called Fantastic that he found in the Londonderry Junior High library...the June 1971 issue, no less (six years seemed very long before at the time), with a cover devoted to Poul Anderson's The Byworlder (editor Ted White always liked to keep things a bit mixed up, so the straightforward sf of the Anderson was in Fantastic while the borderline surreal fantasy of Ursula Le Guin's The Lathe of Heaven was being serialized simultaneously in the sibling Amazing Science Fiction). I knew I had to read that, and that my father might want to check it out, as well...since it had one of the few unreprinted Larry Niven short stories in it, a collaboration with Hank (later Jean Marie) Stine called "No Exit," as Niven had with his 1960s and early '70s work temporarily dislodged Arthur C. Clarke as my father's favorite writer. Generally, it looked cool.
The librarian was happy to let me have the 1971 Galaxy, Worlds of If, and F&SF issues that someone, presumably a teacher, had left in the library sometime over those years, and not actually added to the collection nor apparently disturbed till Steve plucked the Fantastic (he liked the Fantastic Adventures pulp reprint in the issue the best, Festus Pragnell's "War of Human Cats"...well, it was strange and endearingly goofy), and Steve let me know when he was returning the Fantastic, and it was passed onto me for good as well.

And it was a fine issue of Fantastic, as it turned out...clever horror or surreal fantasy by Richard Peck, Ed Bryant (both at the beginning of their careers), and this odd, hilarious parody, "War of the Doom Zombies," attributed to an eccentric old woman supposedly named Ova Hamlet, who worked through her obvious alter ego, one Richard Lupoff (whom I knew as a contributor of a short novel to the clangorous anthology Again, Dangerous Visions). Fantastic would make much hay with Conan pastiches over the rest of the '70s, though entirely too many of them were by Lin Carter (or Carter in collaboration with L. Sprague de Camp, ready to begin his years-long argument with Robert Howard's supporters with his first essay on Howard and the first of his biographical and critical essay series "Literary Swordsmen and Sorcerers," which would also run for years in the magazine)...but this "Hamlet" evisceration was far more savage than any of the Cimmerian's attacks on a foe. I dug it, to say the least. And while most of the Lupoff I would stumble across in new publications and the random back issues I would find were in other modes (I found his "Lupoff's Book Week" column in Algol/Starship particularly enjoyable, along with the fiction, the critical/historical nonfiction, and the odd anthology), I was always very happy to find a Fantastic back issue with a Hamlet story, and was bitterly disappointed that the shakeup at Fantastic and Amazing delayed indefinitely (it seemed) the publication of the promised "Two Sort-of Adventurers," taking on Fritz Leiber's Fafhrd and the Grey Mouser (the next-most-famous characters in sword & sorcery fiction, really, after Conan, and great favorites of mine). I (barely) caught word of the 1979 publication of the first edition of this collection, but didn't take sufficient initiative to seek it out specifically via mail-order (since in the southern New Hampshire/Boston and then the Honolulu suburbs, I had no walk-in access to true specialty shops in '79 and '80)...but it's taken me only four years to rectify this oversight with the 2007 expanded and revised Ramble House edition.
Phil Klass's introduction is unsurprisingly urbane, and adept in delineating the differences between parody, which requites capturing the flavor and rhythm of the work being critiqued, and burlesque and similar modes, which can simply mock. Trina Robbins, like Lupoff an important figure in comics as well as sf/fantasy prose and fannish circles, provides charming caricatures to go with most of the items here (including at least one new to this edition), though I miss the (Jeff Jones? Joe Staton? I don't have a copy of the issue at hand) illo from "Doom Zombies"'s original appearance. [Late bulletin: ISFDb informs us it was Bill Graham.]

The parodies are detailed (not quite completely) on the back cover:
J. G. Ballard: "In the Kitchen" (within the context of a parody of Judith Merril, as crusading editor of England Swings SF, here given as Isle of Man Swings SF)
Norman Spinrad: "Music in the Air"
Harlan Ellison: "Battered Like a Brass Bippy"
Robert E. Howard: "War of the Doom Zombies"
H. P. Lovecraft: "The Horror South of Red Hook"
Philip K. Dick: "Agony and Remorse on Rhesus IX"
Barry Malzberg: "Grebzlam's Game"
L. Ron Hubbard: "Young Nurse Nebuchadnezzer" (one of the items I'd read in another Fantastic back-issue, long before I'd ever seen an example of the "Old Doc Methuselah" stories...at least I'd seen Conan books and comics before the Howard story!)
Kurt Vonnegut: "The Wedding of Ova Hamlet"
Philip Jose Farmer: "God of the Naked Unicorn"
"John Norman": "Nosepickers of Dawr"
Fritz Leiber: "Two Sort-of Adventurers" (it was eventually published by White successor Elinor Mavor)
Stephen King: "Phannie"
and Mickey Spillane: "Death in the Ditch"

It's a great mix of nostalgia and newfound pleasure to have these all together, and note how few missteps Lupoff, one of our sharper observers at any given time, takes.
This book is not out of print, but Ramble House, and Lupoff, deserve your support in the offer of this fine, even necessary volume (I've been lucky enough to meet both the late Phil Klass and the happily still-writing Lupoff on a couple of occasions each, as well as host a scrap of Dick's writing here a few weeks back. If you find yourself moving on from this to Lupoff's more straightforwardly satirical or even utterly more straightforward work, all to the good...old fans of Ova will need to read Blodwyn Blenheim's account of Hamlet's recent course through life...and you get a photo of Hamlet, or just maybe Lupoff, as an infant in 1938 on the back cover, to boot...).

The Google Books "preview" and the Ramble House and Lulu pages.

For more of today's "forgotten" books, please see Patti Abbott's blog.

Tuesday, March 1, 2011

with late additions: Tuesday's Overlooked Films and/or Other A/V: 1 March Links


Bill Crider: Prince Valiant
Brian Arnold: The Last Action Hero
Cullen Gallagher: '49-'17
James Reasoner: The Open Road
Jerry House: Tales of Tomorrow
Juri Nummelin: Manifesto
Paul D. Brazill: Palookaville
Pearce Duncan: Future Boy Conan
Randy Johnson: Belle of the Yukon
Steve Lewis: The Story of Temple Drake

Todd Mason: Hotel; WTF with Marc Maron and Paul Krassner (of The Realist); Monitor.













Of related interest:

Jackie Kashian: The Dork Forest with Jen Kirkman and Karen Rontowski
Michael A. Gonzales: On Ernest Tidyman and Shaft (courtesy Juri Nummelin)
Jack Seabrook on Fredric Brown on TV (Part 1)
courtesy K. A. Laity: Text as Art
Lawrence Person on werewolf films (with links to Person's and Howard Waldrop's decade retrospectives in fantastic films)
George Kelley on Roger Ebert's The Great Movies, V. 3
Patti Abbott: Susan Hayward
Terry Blass on Dave Friedman
Bill Crider (and Janet Hutchings): "The Case of the Headless Man" and hidden talents...

Tuesday's Overlooked Films and Other A/V: HOTEL; WTF and THE REALIST; MONITOR
















Hotel is a film designed to displease many...particularly if one is not willing to take it on its terms, till its narrative threads appear or reappear. It's the account of a very troubled film shoot...an attempt to do a low-budget, Dogme 95 film version of John Webster's best-known work, The Duchess of Malfi, a play at least as invested in court politics and skullduggery as any of Shakespeare's, and as a result an organic metaphor for the goings-on around the production, which are as prone to outbursts of bad temper and the playing out of hidden agendas as anything in the play itself. The play has been dumbed down, in the film, by scenarist/actor "John Shirley" (played by Heathcoate Williams, who actually did help script the film, in one of writer-director Mike Figgis's many injokes; the actor playing Antonio in Malfi, Max Beesley, is a decent jazz pianist whose character in Hotel is offhandedly referred to as "Gerry Mulligan," after the saxophonist/pianist/bandleader). The producer (played by David Schwimmer) lusts after the director's paramour, and the star of the Duchess film (Saffron Burrows) and so hires one of the staff of the Venetian hotel where all the cast and crew are billeted to shoot his old friend, the director (Rhys Ifans, playing quite the indulged, tantrum-prone prat). The hotel is full of sinister goings-on, as the staff seems to be made up of possibly vampiric and definitely human-flesh-eating creatures, who are seen at the beginning of the film having tricked a foolish American tourist (John Malkovich) into joining their nightly feast, only to clearly become the main menu item for the next night.

As rather good bits of Malfi are shot throughout the film (and failed bits, as well), we see the further unraveling of the film crew's plans and work, not aided by the occasional interruptions and challenges of a Making-of documentary crew, mostly composed of the airheaded interviewer Charlee Boux (Salma Hayek) and her cameraman/soundman/producer (Lucy Liu's Sawika sweeps in to help that struggling effort along). The director, after being shot, is in paralysis for much of the film (blatantly misdiagnosed as a coma), and so the producer steps in, not only to woo the leading lady but to put his own amateurish stamp on the production.

The film is largely improvised, yet never loses structure (that it returns to the play regularly helps in this) and remains genuinely funny throughout, even as it manages to keep an edge of menace between the machinations of the staff and the interactions of the film people. That the cannibal hotel-staff tourguide (Julian Sands) yearns for the days of Italian fascism and is only one of several characters to openly mock Dogme film-making is among the many sly touches that help keep the good humor going; the multiple-screen approaches Figgis had previously explored in Timecode and the supernatural themes of Liebestraum come to fuller flowering here.

I must admit, it's a little odd for me to agree so strongly with Roger Ebert, who thinks it a brilliant film, and Elvis Mitchell, only slightly less enthusiastic, and to disagree so strongly with my friend Kate Laity, who is not alone in reviling the film (though I've yet to get a detailed pan from her).

from The Realist:


The most recent episode of Mark Maron's podcast, WTF, is an interview with Paul Krassner, he most sustainedly of The Realist magazine and newsletter, from 1958 to 2001 with a few years off for odd behavior. Maron is seeking large answers to large questions about what the ultimate meaning of Krassner's and Bruce's work is, and the nature of their challenge to society in particularly the 1960s (though of course both began their key work in the latter '50s)...which is as good an opportunity as any to drop in a plug for The Realist archive website, a comprehensive facsimile of the magazine's run. I only wished this hadn't gone up just after I'd blown my deadline for a long essay on The Realist for a collection of cult-magazine historical essays.

Monitor on-air staff

Meanwhile, since we're probing the '50s and '60s, here's an interesting archive of a rather more Socially Acceptable project, which nonetheless allowed for some interesting satirical and related work to be done within the confines of commercial network radio--the longform weekend project that was NBC's Monitor, from 1955 to 1975 essentially a weekend-long mixture of reportage, radio documentary and comedy (featuring Bob & Ray and many others, including Nichols and May early in their career together), and hardly conceivable outside public radio today...albeit with some of the slickness and a fair amount of the shallowness that commercial radio demanded. (Dom Imus, early in his career, was a host, as was Gene Rayburn...though Henry Morgan is remembered more fondly...)