Showing posts with label Ambrose Bierce. Show all posts
Showing posts with label Ambrose Bierce. Show all posts

Wednesday, December 20, 2023

SSW: stories by Joyce Carol Oates, A. M. Homes, Richard Matheson, John Varley, Ambrose Bierce, Al Franken (among others) from THIS IS MY BEST edited by Kathy Kiernan and Retha Powers (QPB 2004) and FLIGHT OR FRIGHT edited by Stephen King and Bev Vincent (Cemetery Dance 2018)

A pair of anthologies from the "turned up in my resettling the flooding/roof collapse survivors" set, the vast majority of my library, and as one bedroom used mostly for storage becomes Alice's office.  I suspect the Stephen King and his associate, (Mr.) Bev Vincent might've here produced the least widely-sold volume credited to King, among those not produced exclusively by a small press (even as there was a Cemetery Dance edition of this anthology which apparently preceded its corporate publishers' versions) nor suppressed by author's inclination (the "Richard Bachman" novel Rage)...even with original short fiction included from King and his son, "Joe Hill".  While the Kiernan and Powers bug-crusher, also offered by Chronicle Books in an eventual "illustrated edition" I've not seen (inasmuch as the Quality Paperback Club original includes comics and near-comics work by Gary Trudeau, Mark Alan Stamaty and Scott Adams [a man whose work would be less likely to be included in the years since 2004, and who has not yet stopped digging his own hole], it, too, is Illustrated to at least that extent. I wonder if the Chronicle edition includes the original Esquire magazine illustrations for this Nth reprint of Gay Talese's "Frank Sinatra Has a Cold" [which famously involves writer Harlan Ellison being harassed by Sinatra and his flunkies, and not truckling to the latter's bored distaste]). As in previous We Ask Writers For Their Favorite Among Their Own Work volumes (such as two I've offered here previously), This Is My Best is aware of its predecessors in such compilations, and specifically harkens back to Whit Burnett's 1942 original by that title (though they seem unaware of Burnett's 1970 sequel volume).

The Oates story was offered by her as a relatively pure example of the kind of tale she's accused, not quite correctly, of  repeatedly writing, those that detail horrible crimes against young women. As she notes, despite the unflinching detail she brings to her accounts of such abuse, she is in nearly all those stories more interested in the aftermath in the lives of the survivors, whether the protagonists or their families and other loved ones. But in the case of  "The Girl with the Blackened Eye", Oates grants that this story keeps its focus almost entirely on the events of the protagonist's ordeal, which involves the ordeals of others...intense thus even by Oates's standards. But I'd still put forth the default, early choice of her short fiction, "Where Are You Going, Where Have You Been?" as an even more intense example of her continuing concern ("Girl" apparently takes as its springboard an actual abduction which a relative of Oates survived; that Oates herself survived a childhood attempt at gang-assault by similarly young boys would tend to help make consideration of such matters of in one's fiction at least likely).

The A. M. Homes story, "The Former First Lady and the Football Hero", is an account of Nancy and Ronald Reagan (Sr.)'s lives as he slips ever more deeply into senile dementia, and she does what she can to cope with his crisis and with her own in trying her best to keep it from the public. Homes notes in her introduction that in being so intrusive as to write such a story about people actually suffering thus that she had to make it more than a mere lampoon of their travail...and she does so, resulting in a black comedy of sorts that reasonably speculates and demonstrates how such things go (though the notion that the addled former president would manage to get past his detail of Secret Service agents seems less likely than it is portrayed). Small details are filled in with empathy, otherwise...as someone who saw both parents succumb to varying sorts of dementia in their last years, it reads as a moving account.

Along with the Adams strip (makes its point, and its point is a bit more genuinely populist than his latter-day tRumpeting) and the Trudeau strips and the excerpt from Stamaty's heavily illustrated beginning-reader book, among the humorous bits which rely on trans-text is the fake NYT book review attributed to Jeanne Kirkpatrick (and the "outraged" "responses" from Al Franken, Jeanne Kirkpatrick and the paper's editors), all taken from Franken's most famous text, Rush Limbaugh is a Big Fat Idiot and Other Observations. I'd say Franken's done better (and, in at least one other famous attempt at pranking, worse), but for what they are, they're fine.

Among the stories I've not previously read in Flight or Fright, the most famous is almost certainly Richard Matheson's "Nightmare at 20,000 Feet"...I have seen the two Twilight Zone-branded adaptations decades back, and the story is better, but at first (and a bit repetitiously) it seems as if it might not be, while Matheson sketches in the details of his protagonist's lack of joy in his life; the ending was changed for both adaptations, making them slightly less realistic (it's quite possible to read the short story as non-fantasy as it's usually understood) and thus more rewarding to a less-experienced audience. Nonetheless, not nearly Matheson's best work, I'd suggest, and perhaps unsurprising it first appeared in an anthology edited by Matheson's agent rather than in any of the magazines he might've contributed to at the time.

While I did read John Varley's "Air Raid" not too long after it was published (in the first issue of what's now called Asimov's Science Fiction, in 1977), in 1978 when I was trying to read all the Varley fiction I could find. I liked it but didn't love it, which has put me at odds with a number of fellow admirers of Varley's work...I preferred Varley's other story in that first Asimov's issue, for example. It was expanded to novel length after a grueling process of adapting it for filming over more than a decade, the film and the novel both titled Millennium, and neither did as much for Varley as the amount of time and effort they wasted. "Air Raid" has excellent detail and scene-setting, and quite aside from being more consistently grim than the majority of Varley's early work (not too sure that put me off, as I was certainly reading a fair amount of Pohl, Kornbluth, Malzberg, Kafka, et al. at the time, and still very much a reader of horror fiction), it also deals in a future for humanity that is capable of time and long-distance space travel but cannot handle genetic drift in various forms at all...which struck me as unlikely at the time, though Varley manages deftly enough to avoid dealing with that, and much of the story is ingenious. So, definitely read "Air Raid" before any of his early novels, but perhaps after the other stories in his first three collections, at least. (Revisiting "The Persistence of Vision" as an adult left me with a larger sense of discomfort than I felt when reading it as a 13yo, as it was first published, but even that one might remain a better story in every way.)

Ambrose Bierce's "The Flying-Machine" (first collected in his Fantastic Fables, 1899) remains as very good and pointed a joke-anecdote today as it was in 1891.




























This Is My Best: Acclaimed QPB Authors Share Their Favorite Work 
QPB edition published 2004 and can be read at the link; a Chronicle Books trade edition (with slightly amended subtitle) followed for non-QPB members in 2005; edited by Kathy Kiernan and Retha Powers; the contributors provide headnotes to their entries.

ix * Introduction  * Retha Powers and Kathy Kiernan * in
1 * Dilbert, October 8, 2001 *  Scott Adams * cs Andrews McMeel Syndication
3 * "Jimmy Hoffa's Odyssey" * Ai * pm Agni #28, 1989
7 * From Before We Were Free, the chapter "Freedom Cry" * Julia Alvarez * novel excerpt, Knopf 2002
21 * "Confessions of a Lonely Atheist" * Natalie Angier * es The New York Times Magazine 14 January 2001
34 * From Timbuktu *  Paul Auster * novel excerpt, Henry Holt 1999
42 * "Filthy with Things" * T. Coraghessan Boyle * The New Yorker 15 February 1993
From Sweet Summer / Bebe Moore Campbell
"What to Do" / Hayden Carruth
From Caramelo / Sandra Cisneros
"Mrs. Dutta Writes a Letter" / Chitra Banerjee Divakaruni
"A Short Story" / Emma Donoghue
"Her Island" / Rita Dove
From "Tiger-Frame Glasses" / Carolyn Ferrell
"Dumped!" / Helen Fisher
From Rush Limbaugh is a Big Fat Idiot / Al Franken
"Surprise" / Martin Gardner
"A Hidden Killer in Cajun Country" / Laurie Garret
From Migrations of the Heart / Marita Golden
The Former First Lady and the Football Hero, A. M.  Homes (ss)  Zoetrope: All-Story Fall 2002
From Fanatics and Fools / Arianna Huffington
From A Taste for Death / P.D. James
"Who's Irish?" / Gish Jen
From Cherry / Mary Karr
From The Poisonwood Bible / Barbara Kingsolver
From China Men / Maxine Hong Kingston
"A Gaggle of Saints" / Neil LaBute
From Under My Skin / Doris Lessing
From The Fortress of Solitude / Jonathan Lethem
"My Father with Cigarette Twelve Years Before the Nazis Could Break His Heart" / Philip Levine
"The Mappist" / Barry Lopez
From "The Facts Behind the Helsinki Roccamatios" / Yann Martel
From Property / Valerie Martin
From Salesman in Beijing / Arthur Miller
"From Mao to America: a Writer's Remarkable Journey" / Anchee Min
From Farewell the Trumpets / Jan Morris
From The Wind Up Bird Chronicle / Haruki Murakami
"The Wedding at the Courthouse" / Kathleen Norris
From Intimate Apparel / Lynn Nottage
The Girl with the Blackened Eye * Joyce Carol Oates (ss) Witness v14 #2, 2000
"Impossible to Tell" / Robert Pinsky
From The Botany of Desire / Michael Pollan
"America: The Multi-National Society" / Ishmael Reed
"The Queen of Mold" / Ruth Reichl
From Anthropology: "normal," "pieces," "Madrid," "trick," "dust," "beauty," and "lesbian" / Dan Rhodes
From Fierce Invalids Home from Hot Climates / Tom Robbins
"Sand" / Richard Rodriguez
"Getting Away from It All" / Witold Rybczynski
"Repeat after Me" / David Sedaris
"Flakes of Fire, Handfuls of Light" / Huston Smith
From Who Needs Donuts? / Mark Alan Stamaty
"Frank Sinatra Has a Cold" / Gay Talese
Doonesbury: "The Golden Hour" / Garry Trudeau
From The Laws of Our Fathers / Scott Turow
From Dinner at the Homesick Restaurant / Anne Tyler
"Your Lover Just Called" / John Updike
"Son in the Afternoon" / John A. Williams






































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Wednesday, December 16, 2020

Short Story Wednesday: Margaret St. Clair, Ed Gorman, Fritz Leiber, Robert Bloch, Manly Wade Wellman, Ambrose Bierce, Zona Gale, Elizabeth Kostova, Eileen Pollack, Nicholas Delbanco, Laura Kasischke, Keith Taylor: GHOSTS OF THE HEARTLAND edited by Frank McSherry, M. H. Greenberg & Charles Waugh (Rutledge Hill Press 1990); GHOST WRITERS edited by Laura Kasischke and Keith Taylor (Wayne State University Press 2011)

Terror and Even More Regret at the (Northerly) Center of the Contiguous 48...

Ghosts of the Heartland ed. Frank D. McSherry, Jr., Charles G. Waugh & Martin H. Greenberg (Rutledge Hill Press 1-55853-068-1, Apr ’90, $9.95, 210pp, tp, cover by Harriette Bateman) Anthology of 18 ghost stories set in the Midwest.

  • viii · Can There Be Such Things? Here? · Frank D. McSherry, Jr. · in
  • 1 · But at My Back I Will Always Hear · David Morrell · ss Shadows #6, ed. Charles L. Grant, Doubleday, 1983 (set in Iowa)
  • 18 · Death’s Door · Robert McNear · nv Playboy Mar ’69 (Wisconsin)
  • 40 · Little Jimmy · Lester del Rey · ss The Magazine of Fantasy and Science Fiction Apr ’57 (Iowa)
  • 55 · Floral Tribute · Robert Bloch · ss Weird Tales  Jul ’49 (Illinois)
  • 67 · Stillwater, 1896 · Michael Cassutt · ss  Shadows #7, ed. Charles L. Grant, Doubleday, 1984 (Minnesota)
  • 78 · The Boarded Window · Ambrose Bierce · ss San Francisco Examiner Jul 14, 1889 (Ohio)
  • 83 · Listen, Children, Listen! · Wallace West · ss Fantastic Universe Oct/Nov ’53 (Indiana)
  • 96 · Professor Kate · Margaret St. Clair · ss Weird Tales Jan ’51 (Oklahoma)
  • 103 · The Skeleton on Round Island · Mary Hartwell Catherwood · ss Mackinac and Lake Stories, Harpers, 1899 (Michigan)
  • 113 · One for the Crow · Mary Barrett · ss Alfred Hitchcock's Mystery Magazine Mar ’73 (Missouri)
  • 122 · School for the Unspeakable · Manly Wade Wellman · ss Weird Tales Sep ’37 (North Dakota)
  • 133 · Different Kinds of Dead · Ed Gorman · ss * (first appeared here) (Nebraska)
  • 140 · Deadlights · Charles Wagner · ss Twisted Tales #9 ’84 (Kansas)
  • 149 · The Bridal Pond · Zona Gale · ss The American Mercury Feb ’28; Ellery Queen's Mystery Magazine Oct ’49 (Wisconsin)
  • 155 · A Wounded Knee Fairy Tale · Craig Kee Strete · ss · Dreams That Burn in the Night, Doubleday, 1982 [published earlier in translation] (South Dakota)
  • 162 · Shaggy Vengeance · Robert Adams · nv Amazing Jul ’84 (North Dakota)
  • 187 · He Walked by Day · Julius Long · ss Weird Tales Jun ’34 (Ohio)
  • 194 · Smoke Ghost · Fritz Leiber · ss Unknown: Fantasy Fiction Oct ’41 (Illinois)
Two volumes, one taking horror and fantasy fiction set in a pretty broad definition of the US midwest, the other collecting original stories set in Michigan...one focusing on veteran writers of the fantastic (with a few comparative dabblers mixed in), the other mostly devoted to those who usually write mimetic fiction (arguably amusingly, the biggest "names" in the Michigan volume are either best-known for horror--Kostova--or have written notable borderline sf--Delbanco). All original stories in the newer book, only Ed Gorman's story newly published in the elder. Not all that surprisingly, and not just because of the similarity of setting and nature of the fiction, not too much dissimilarity of approach or result...even if the first book is much more comfortable with literal ghosts than is the second.

Among the stories in Ghosts of the Heartland:
"Smoke Ghost" by Fritz Leiber is probably the most influential and, frankly, important of the stories collected in this volume...one of the founding texts of urban fantasy and what can be termed "modern horror", fully incorporating the existential horror lessons of Lovecraft (and, in a sense, Kafka) and Lovecraft's more slavish followers into a literary context more in tune with the Edwardian and subsequent horror-fiction writers in Britain and such US fellow-travelers as Ambrose Bierce, Stephen Vincent Benet and Conrad Aiken, as well as such fellow contributors to Weird Tales and Unknown as Robert Bloch, Manly Wade Wellman, H. R. Wakefield, Algernon Blackwood, Jane Rice, Catherine L. Moore and Henry Kuttner, Theodore Sturgeon, Fredric Brown, Ray Bradbury, and Margaret St. Clair, along with other continuing innovators such as Shirley Jackson, Daphne du Maurier and John Collier. Leiber posits that the haunts of industrial Chicago, and thus the world of soot and smoke it sits in, have a new character, new demands on us, no less taxing than the ghosts of yore. The Bloch and Wellman stories are good examples of their work, as well, but less key, if also in Bloch's case from the period of his completely having moved away from writing Lovecraft pastiche and something more fully his own. The St. Clair is a consistently eerie bit of historical horror, suggesting a supernatural fate for the murderous (and mysteriously vanished shortly after discovery of their crimes) "Bender Family" of post-Civil War Kansas. The Bierce is even more a chestnut in anthologies, and for good reason (aside from public domain status), than are the Leiber, Bloch or Wellman stories. 


Less well-known are Ed Gorman's "Different Kinds of Dead", which is a suitably noirish sort of actual ghost story, and Zona Gale's interesting, allusive account of whether or not a certain couple made it past their honeymoon. I've not yet delved into the other stories in the McSherry, Greenberg and Waugh volume; McSherry, in his introduction to the book, made it clear that there were actual Benders that "Professor Kate" is about, which I didn't know till now, though I've had a copy of the January 1951 issue of Weird Tales including that story for some years, and let Prof. Kate Laity know about the story's existence shortly after purchase.

Among the stories in Ghost Writers: Elizabeth Kostova's is the story I've read so far here that most fully embraces the probable supernatural nature of its events, involving a young father and his very young kids' encounter with an avuncular man of seemingly indeterminate but variously-cited great age, who is taking full advantage of his last day of work (he notes) at a low-rent but Disney-like theme park, where every ride has its own ticket. Kostova being easily the best-known writer in the book, due to her historical horror fiction, it's somewhat unsurprising that she is least afraid of having this benevolent possible jokester and probable actual ghost lean in that direction. Nicholas Delbanco's typically eloquent prose is put in service of a consideration of historical injustice, as well as a refurbished house with raccoon squatters; Eileen Pollack's story seems likely to endorse its supernatural nature, up through a long infodump about the nature of the late, controversial priest at the heart of the narrative, but takes a turn toward the all too human monstrosities that priest both suffered and inflicted, as well as those her protagonist's family and her husband's had faced in varying ways, most tellingly during World War 2--the story so far that makes the most hay with the authoritarian "militias" arising in Michigan over the last half-century or so. 

Editors Laura Kasischke and Keith Taylor seem a bit 
more playful with the boundaries of mimetic and fantastic fiction (and Taylor with crime fiction as well); Kasischke's protagonist isn't at all sure that some very potent marijuana wasn't responsible for her vision of ghosts, one of whom is stealing one of her old dresses meant for charity donation; Taylor's involves some fairly rural and provincial teachers, in to Detroit for the day as chaperones for students on a job fair, and particularly for one a somewhat sinister passage through an art gallery and an even more sinister encounter on the drive home, shared with two colleagues. So far, in average quality in this book is at a disadvantage, not being able to tap riches going back most of a century like the other, but not so much that I won't read further in this solid anthology, as well. (Keith Taylor the co-editor isn't the Australian fantasist Keith Taylor aka "Dennis More" and other bylines, nor the English horror-adventure novelist Keith Taylor, nor even the 1940s UK fanzine editor/publisher Keith Taylor, but the Canadian-born, US writer and retired professor of English at Wayne State, I gather spoken very highly of by former student Megan Abbott, among others.)




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