Wednesday, July 16, 2025

SSW: Stephen Gallagher: "The Governess: A Professor Challenger Story as told by Mr. Edward Malone..." (2020 chapbook). Brooligan Press: a Short Story Wednesday review

A redux post on an already exhausted day


Stephen Gallagher is a deft hand in at least two media, prose and scriptwriting (primarily for television drama), and his Brooligan Press has republished his own work and offered volumes by others, including  fiction-writer and film critic Anne Billson, whose novel The Ex had only previously been self-published through CreateSpace (other novels by her had been published by actual publishing houses), as well as having offered some original chapbooks, such as this one. Among his most popular work in both forms has been related to the literary creations and extra-literary career of Arthur Conan Doyle, perhaps most famously The Kingdom of Bones, both as a novel and an episode of Murder Rooms, the British anthology series; this, as the careful annotation above suggests, is a pastiche of Doyle's Professor Challenger and Malone stories, one which doesn't require having read much of the original Challenger stories (I've read perhaps two, and those probably 45 years ago) for enjoyment, though I suspect the enjoyment will be deepened.

Malone approaches Challenger, after Malone's divorce from the older man's daughter, that divorce inspired by Malone's dalliance with another woman that had resulted in a son (Gallagher has Challenger refer to the "illegitimate" child as a "b----" [Gallagher's self-censorship], in the Proper argot of Doyle's early career). Unfortunately, the child has died, and Malone has begun to be haunted...perhaps Challenger can be persuaded to help, for the child's spirit's  sake. Thus some dealings with an unsavory mystic (as distinct from the mediums Challenger is more comfortable with) and a rather Dante-esque and cosmic discovery awaits them all, including a meeting with the titular force. 

It's great fun, and perches cheerfully at the borders of horror and fantasy, as well as being expert historical pastiche. 

The Governess has "repurposed" illustrations appropriate to "its era" by Walter S. Stacy (1846-1929) and, as one admirer noted in an even briefer review, even provides its ads for other Gallagher volumes in the Edwardian style.


https://brooligan.blogspot.com/2020/12/the-governess.html

For more of this week's short stories, please see Patti Abbott's blog.


Wednesday, July 9, 2025

SSW: "Plenitude" by Will "Worthington"/Mohler, THE MAGAZINE OF FANTASY AND SCIENCE FICTION, November 1959, edited by Robert P. Mills



















This issue can be read at the Internet Archive here.

Heinlein and Fast as the cover draws. John Collier's story was a reprint. Starship Soldier was, as editor/critic John Boston has noted in email, a truncated form of  Starship Troopers, which was published in book form about the same time the second and final installment in the next month's F&SF was on the stands.

From the FictionMags Index and ISFDB:

I first read the story in this volume of Judith Merril's annual:
(note the early Lawrence Block story collected below; a good volume even for Merril...)


Can't imagine why ("Snirsk!" says Ninja the cat as she walks by), but post-crisis fiction and drama is at least as common (and perhaps popular) as ever, though one of the more memorable post-crisis stories that has stuck with me through the decades (I would've read it perhaps forty years ago, and it wasn't so very new then) was by Will Mohler, who apparently published all his fiction in a five-year span from 1958-63, almost all of it signed "Will Worthington", and that was that, despite a receptive audience for it in the field.  

"Plenitude" is an interesting mixture of outsider resentment of conformity culture--through that conformity seeking a kind of community and security which can be all too poisonous (hello, current crises, particularly when the current power structure is, more than usual, in the hands of particularly self-regarding irresponsible, ignorant fools), and how one might attempt to imagine a better, truer existence through turning away from all that. It's not a brilliant story, but it does rather cleverly outline what seems at first to be a post-apocalypse scenario which turns out to be something rather different, a latter-day refinement of H. G. Wells's Eloi and Morlock dynamic, if less systematically brutal. Mohler's a better polemicist than he is a fashioner of fully human characters (the adult women characters are puzzling wonders to the [not quite fully] adult viewpoint character, and this is something he brushes off improbably, given their situation...such obliviousness might make more sense in a story set in a 1960s US reasonably affluent suburb). It's a relatively short story, and it mostly surprised me back then in its critique...Mohler mockingly uses Hegelian terms to chide its upper middle-class conformist survivors, and one will find it more difficult in a quick search for the term "Parmenidean" than it should be, as our bots of today are made to be certain we must mean to search for "Pomeranian"...I believe I first read this story in the back volume of the Merril annual rather than the back issue of F&SF, which with even a glance at the contents marks it as a typically star-studded one...editor Robert Mills, like his predecessors "Anthony Boucher" and J. Francis McComas, being as much at home in crime fiction as fantastica.

I suppose I should make a study of  Mohler's work in toto, as far as we know of it, with three stories in Fantastic, one each in If and the British Science Fantasy, and six in total in F&SF, the last one, along with a single story in Galaxy, as Mohler:
***For more of today's story reviews, please see Patti Abbott's blogpost here.

Sunday, July 6, 2025

Friday's Books: the least of Robert Bloch's novels, PSYCHO HOUSE (Tor Books 1990)...and your much better Bloch choices.

The worst of Bloch's novels I've read by some distance; one can see why he introduced the twist that is the story's most redeeming feature, but it doesn't redeem enough of the weight of bad feeling that had attached to others making ever more foolish films of his characters (and more money from their foolishness) that one senses while reading it. It's not a fully worthy sequel to the novel Psycho II, much less the brilliant short novel that was the original. You won't suffer too greatly, to be sure, but keep your expectations low if you pick it up, and certainly don't use it to gauge whether you want to any of Bloch's other fictions, few of which are as ultimately dispirited as this one. American Gothic (which anticipated The Devil in the White City by more than some years--see also Bloch's novella-length nonfiction "Doctor Holmes' Murder Castle" [1983]), The Scarf and any number (in fact, essentially all) of his other novels are better (even his most minor sf novel, Sneak Preview, though I've only read the 1959 novella version; perhaps the 1971 expansion for book publication is better), and reading his short fiction is always recommended (however, one edition to avoid is the trade paperback reprint of sorts of The Selected Stories of RB, retitled for no good reason The Complete Stories of RB, which is riddled with typos and other distractions, aside from the false advertising of the retitle). The Best of Robert Bloch (a 1977 Ballantine Book mixing fantasy, horror, and sf) and its companion Such Stuff as Screams Are Made Of  (Ballantine/Del Rey 1979, mostly devoted to horror and crime fiction) are among the best bets in introductions to his work, along with the original edition of the Selected Stories volumes. Or, for fine selections from the shank of his short fiction career, the largely crime fiction Blood Runs Cold (Simon and Schuster, 1961--with another cover, after his cover for Psycho with that distinct font, by Tony Palladino) and the largely fantasticated, leaning mostly but not exclusively to horror fiction, Pleasant Dreams (in several configurations, originally Arkham House, 1960). I had the 1963 Popular Library paperback of Blood and the Jove Books 1979 version of Pleasant...




























Friday, June 27, 2025

Lalo Schifrin (June 21, 1932 – June 26, 2025)

My Life in Music (career survey anthology)
 
 
Opening theme and montage, Bullitt (1968)

Jazz Meets the Symphony (1994 concert)
Lalo Schifrin featured as a pianist and conductor for this concert, recorded live from the Philharmonie in Munich. He appeared with members of the Münchner Rundfunkorchester and soloists Ray Brown (double bass), Grady Tate (drums) and the Australian James Morrison (flugelhorn, trumpet, trombone). This concert includes some of Schifrin's original compositions - including his film music - as well as well-loved standards. 0:20 Lalo Schifrin - Down here on the Ground 7:04 Trad./arr. Schifrin - The Battle Hymn of the Republic 15:01 Lalo Schifrin - Brush Strokes 19:22 Ray Brown - Blues in the Basement 26:48 Vernon Duke / arr. Schifrin - I can`t get started 32:01 Lalo Schifrin - Madrigal 36:59 Lalo Schifrin - Mission Impossible Subscribe to LOFTmusic: https://goo.gl/wwlZl8


Psychedelic Jukebox

Lalo Schifrin, the legendary Argentine-American composer, pianist, and conductor, died on June 26, 2025, at the age of 93 in Beverly Hills, California. According to multiple reports, the cause of death was complications from pneumonia. His son, Ryan Schifrin, confirmed he passed away peacefully. His most famous composition, the Mission: Impossible theme, with its distinctive 5/4 time signature, became a cultural touchstone, instantly evoking espionage and suspense. He also crafted iconic scores for films like Dirty Harry (1971), Cool Hand Luke (1967), Bullitt (1968), Enter the Dragon (1973), and the Rush Hour trilogy, as well as TV themes for Mannix and Starsky & Hutch.


"The Wave" (in 5/4 time) (1962)
 


Mannix opening/closing theme: