Tag Archives: C.L. Moore

From Riverdale to Skaith to a blacked-out New York: books read

ARCHIE MEETS BATMAN ’66 by Jeff Parker, Michael Moreci and Dan Parent has the United Underworld (Riddler, Joker, Penguin, Catwoman) decide rather than keep losing to Batman, they’ll take over some small, middle-American town and use that as the basis for their crime empire. Suddenly, Archie and his gang notice everyone from Pops at the malt shop to Mr. Lodge acting peculiar, and there are these two new students, Dick Grayson and Barbara Gordon, who seem to have a secret … This was fun, and it even manages to work in a Jorge Luis Borges joke in one scene.

ED THE HAPPY CLOWN by Chester Brown is a cheerfully insane story about Ed, who’s actually rather miserable as he deals with vampires, pygmies, sinister government agencies and having Ronald Reagan’s head on the tip of his penis. This takes a while to get going (partly because the first two chapters weren’t conceived as parts of an overall work) but when it does it’s gloriously whacko. Not to everyone’s taste, though, I’m sure.

Like Northwest Smith, CL Moore’s stories of JIREL OF JOIRY follow a consistent formula, starting with the first story, Black God’s Kiss: Jirel enters or is dragged into some unearthly alien hellscape struggles to stay alive and returns. However as there are only five stories (not counting her crossover with Smith), the worlds she enters are so weird and Jirel herself is such a striking character (even though she usually doesn’t get to do much beside provide us with an eyewitness to the weird) that they work much better. However the romantic element of Black God’s Kiss (he slaps her, he dominates her, how can she not love him?) hasn’t aged well.

THE HOUNDS OF SKAITH was Leigh Brackett’s sequel to Ginger Star in which Stark, having rescued his friend Simon from the Lords Protector of Skaith, must journey back to the planet’s spaceport before the ruling Wandsmen shut it down. Even with the psionic Northhounds as his allies, can he do it? This is a good page turner, though I’m curious what Brackett will do for the final volume as the fight seems to be won here.

THE GHOST AND THE FEMME FATALE: A Haunted Bookshop Mystery by Alice Kimberlyis the fourth in a series wherein Penelope, a bookstore owner, teams up with the ghost of a hardboiled PI who haunts her shop. When Penelope attends a film noir festival, it looks like a legendary B-movie Bad Girl has been targeted for murder, but as people around her drop like flies, Pen and her partner wonder if she’s the real target. Even if I were a cozy fan, I don’t know I’d like this (though I might dislike it less): The ghost’s hardboiled dialog gets tiresome and some of the characters snipe at each other like they were in a bad sitcom.

BLACKOUT by James Goodman looks at the 1977 New York power blackout which led to a night variously composed of looting, casual sex, helpfulness (two blind students at Columbia University led their class out of the blacked-out building; lots of people volunteered to direct traffic at intersections), looting, fear (“I can’t identify Son of Sam in the dark!”), jubilation, overwhelmed police, and looting. The morning-after follow-up led to intense debate on both Con Edison’s failure to keep the juice flowing and why this blackout saw looting when 1965 didn’t (Goodman points out that any analysis now should look at the similar lack of looting in the later outage of 2003). Goodman’s slice of life approach (random vignettes rather than following a few individuals) works for me, though not everyone, and his choice to identify most people  by labels — “the social critic,” “the columnist,” “the city councilor” — gets annoying.  Overall a good book though.

#SFWApro. Covers by Chester Brown (top) and Margaret Brundage. All rights to images remain with current holder.


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Greece, quasi-countries and Anarky: books read

THE MASK OF CIRCE by Henry Kuttner and CL Moore (various sources ascribe it to one or the other alone) didn’t work for me as well as I expected. We open with protagonist Jay Seward telling a stranger (the framing sequence struck me as unnecessary) how he was mysteriously drawn back to ancient Greece or an alt.version of it due to his ancestral memories from his forefather, Jason (yes, the Jason). It seems Hecate and her priestess Circe trusted Jason to help defeat Apollo (a rogue AI created by the advanced science of these alt.Olympians) but the ever faithless adventurer fled instead. Now Jay has to come back and stop Apollo before he does very bad things …

While Apollo is impressively intimidating, the ancestral memory stuff gets really complicated, and Circe is wasted — even given it’s not classic Circe, I’d expect a priestess of Hecate to play a bigger role in the action than she did (and she’s not really a romantic lead either). Hs it’s moments but not enough of them.

INVISIBLE COUNTRIES: Journeys to the Edge of Nationhood by Joshua Keating is an interesting look at countries that hover awkwardly outside the standards of what makes a nation, including the Knights of Malta (recognized as a sovereign entity despite not having an actual territory of their own), Somaliland (a peaceful secessionist area within Somalia that’s tried and failed to gain recognition from other nations), Kurdistan, island nations looking at their territory disappearing as climate changes and various attempts by private citizens to start their own countries. Keating points out that since the wave of decolonization and Soviet collapse in the last century, there’s been little change to the roster of nations, largely due to existing nations’ preference for stasis (the U.S. may be willing to replace governments it doesn’t like, but we don’t like it when the borders get redrawn). While that means Somaliland and similar secessionist countries get the short end of the stick, Keating has no illusions that secession is automatically a good idea: there’s always some group who doesn’t like belonging to the state they’re in, and ethnostates usually exist because of blood and violence in their past. Extremely interesting.

ANARKY by Alan Grant and Norm Breyfogle collects their brief attempt to turn Batman’s teenage genius adversary, Anarky, into the star of his own series (he got a miniseries of his own which I have yet to read). A teenage revolutionary and cynic, Anarky distrusts all authority, so sticking him in Washington dealing with corrupt politics and power brokers seems like a great fit. As I mentioned some years back, I like the idea of anti-authoritarian heroes who challenge the status quo but aren’t terrorists; that’s what prompted me to pick this up. And it does have some great moments, such as Anarky trying to convince R’as al Ghul to help people instead of scheming to commit mass murder.

But not enough moments. The first three issues are an uninspired cosmic adventure with Anarky battling a reality-warping monstrosity alongside the Justice League; I can understand wanting a solid guest cast for the opening issue, but it doesn’t fit where the series was heading, and it’s nowhere near as interesting. The final issue concerns Anarky’s fear his birth father is the Joker; that didn’t work for me either. That’s a lot of wasted space for a series that lasted only eight issues.

I still plan to get the collection of Anarky’s earlier adventures and see if that works better.

#SFWApro. Top cover by Michael Herring, bottom by Breyfogle.


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Egypt, France and the Solar System: books read

THE HAUNTING OF TRAM CAR 015 by P. Djeli Clark shows why libraries are wonderful: at $15 for a paperback novella, I’d never have bought it for myself, and so I’d have missed a first-rate story.

The setting is 20th century Egypt in an alternate history triggered when an Islamic mystic opened a gateway and let magic and the djinn back into the world. While Egypt isn’t the only nation affected, Cairo was ground zero, giving Egypt a head start; the nation threw off Western imperialism and is now one of the world’s great powers.The protagonists are detectives working for the government body dealing with supernatural threats; when one of the city’s elevated tram cars becomes possessed, they have to figure out by what, and how to get rid of it. Which proves, of course, more complicated than expected.

Clark has a great setting with lots of convincing detail (at least to someone who doesn’t know Egypt well) and he tells a good story. As he apparently has other novellas out, I look forward to when they all come out in an anthology down the road (it’ll be a lot more cost-effective to buy this one then).

ELEANOR AND THE EGRET: Taking Flight by John Layman and Sam Kieth is a really oddball France-set graphic novel. Eleanor is an artist, mysteriously blocked in her painting, working with a talking egret to steal paintings by the celebrated Anastasia Rue. Which the egret then feeds on. Det. Belanger is the cop on the case, trying to figure out the who and the why behind the thefts and finding himself quite charmed by this young lady, Eleanor, that he’s met. Rue, however, is not at all delighted … Goofy and charming, I really liked this one (a lot more than Layman’s Chew).

Rereading NORTHWEST SMITH by C.L. Moore was a frustrating experience, and not just because it omits Moore’s crossover between space mercenary Smith and her sword-and-sorcery warrior Jirel (my Jirel of Joiry collection doesn’t have it either). The stories are solidly in that pulp style I love so much, but read collectively, they’re too much alike — almost half of them follow the structure of the first, Shambleau, in having Smith deal with some exotically alien Bad Girl who wants to suck out his soul.  Smith himself is surprisingly ineffective as a protagonist; while Moore reminds us he’s tough, he’s usually helpless in the grip of paranormal forces so someone else, such as his sidekick Yarol, has to save the day. He’s also a lot nastier than I remember — he grumbles a lot about working for slavers in one story, but money’s tight so he goes ahead and does it. The stories still work, but in hindsight I’d have enjoyed them better if I’d slowed down the reading to maybe one story every couple of days, interspersed with other things.

#SFWApro. Cover by Stephen Martiniere, all rights to image remain with current holder.

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Doomsday Times Two, and more: books read.

DOOMSDAY MORNING, which I mentioned last week, was C.L. Moore’s last novel and decidedly different from her usual work. Rohan, once a theatrical star, is now a migrant farm worker in a dystopian near-future America run by the sinister Comus (Communications of the U.S.), which drags him back onto the stage to perform in a traveling show in parts of rebellion-prone California. But why does the show have to be done exactly as written? What’s the meaning of Rohan’s strange dreams. And what is the mysterious Anti-Comus weapon the rebels are supposedly developing.

This was a good, though grim book, very much of its time in some ways; Comus is all-seeing but via psychological testing and monitoring rather than the surveillance tech they’d use today. As I said last week, the theater stuff is dead-on, which was a plus for me. However the various mental compulsions laid on Rohan frequently make him little more than a puppet rather than a free agent.

DOOMSDAY: A Remy Jones Adventure by Heather Elizabeth King is urban fantasy in an off-the-wall setting: a post-apocalyptic, corporate-run city where we have outcast mutants, magic, and a team of magic-powered superheroes (with Heroine Complex going the same route, I wonder if it’s a trend), not to mention a hunky manbeast named Vincent (and obvious reference to the 1980s Beauty and the Beast TV series). The urban fantasy aspects of mutant Remy Jones (one odd point is that the mythos term for mutants is “parasite”) hunting down a zombie making sorcerer didn’t work for me, as I’m not much of an urban fantasy fan, but I give King (whom I met and bought the book from at Mysticon) credit for doing something different from most of the books I read in the genre.

ROUND ABOUT THE EARTH; Circumnavigation from Magellan to Orbit by Joyce E. Chaplin looks at the history of round-the-world journeys, starting with Magellan’s attempt to reach China, then following through Sir Francis Drake, James Cook and other explorers to the development of commercial tourist trips and then on to railroad, plane and rocket (with sidelines such as several attempts to bicycle around the Earth). This starts well and has interesting thoughts on how growing national cooperation made things easier (the more ports you can stop in, the simpler it is to restock your boat with provisions) but too much of the book is just a list of This Person Went Around The World, Then This Person, Then This Other Person … I got bored.

CAPTAIN BRITAIN by Alan Davis and Jamie Delano was the final collection of Brian Braddock’ superhero adventures before he became part of the Excalibur super-team. While there’s the usual action and peril, it’s surprisingly gentle too. Brian accidentally kills someone in a fight, but the guy’s parents don’t freak out or send anyone to kill him — they know what their son was like and they sympathize with Brian. Dai Thomas, “the cop who hates superheroes” from Chris Claremont’s early run on the series shows up again and apologizes for being a jerk to Brian. And everything ends on a note of peace and affection. That doesn’t sum up the book but after years of reading comics, that’s wht jumps out at me.

SUPERGIRL SILVER AGE V1 by (mostly) Jerry Siegel and Jim Mooney reprints Supergirl’s Silver Age adventures up to the point Superman’s ready to reveal her existence to the world. This goes slightly past the stories collected in Showcase Presents Supergirl (it skips a couple of crossovers into other Superman Family books to fit it all in) but the added stories are frustrating.The long arc of Supergirl being replaced by her Kandorian lookalike Lesla-Lar (probably my favorite Supergirl villain), ends with Mxyzptlk as a deus ex machina (thwarting Lesla Lar’s plans without even realizing it). This appears to start an arc where he’s made Supergirl more powerful than Superman, but instead we get two stories of Supergirl undergoing freaky red kryptonite transformations (red k could always provide enough weirdness to fill an issue) and then it’s done. I half wonder if the editors made Siegel cut the Lesla-Lar arc short, or if he just ran out of ideas. As I said reviewing the Showcase, fun but YMMV.

#SFWApro. Art is uncredited all rights to image remain with current holder.


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Is authenticity a white people’s illusion?

That’s LGM blogger Erik Loomis’s argument in a response to a WaPo article by Mexican American John Paul Bremmer on why people should stop expecting him to eat “authentic” food. Bremmer jokes that he’s from a Mexican family that can’t cook (“I had already discussed all the recipes in our family tree after just two essays.”). His family’s Mexican food in childhood came from Taco Bell.

Bremmer looks at white folks craving “authenticity” in their Mexican food and concludes “it assures the visitor that whatever they’re experiencing, be it a meal or a poem or a human being, is rarefied and exotic, something they can’t get anywhere else. People going about their ordinary lives, whatever their ordinary lives look like, don’t have to think about authenticity any more than my mother has to think about whether her microwaved eggs and bacon in bread is ‘Mexican.’ At that point, calling something authentic can help you sell it.”

Conversely, Mexican food that doesn’t fit what people expect is dubbed inauthentic (CityLab discusses whether “authentic” means anything other than ‘customers like it.’). “Heritage and tradition are important, there’s no doubt. But it’s also important to free our imaginations from the tyranny of authenticity … Our culture — any culture — isn’t static. It is a living thing. It pulls from its surroundings to adapt in a world that in equal turns marginalizes and fetishizes it. The truth is, I see myself more in Taco Bueno, in my abuela sacking the salsa bar, in the Parmesan crispy taco, than I do in whatever Yelpers think is authentic.”

Which reminded me a lot of Michal Wojcik’s recent post about children of immigrants being told drawing on their homeland culture is inauthentic: they’re not part of it, they can’t claim it. So they only “authentic” thing they can write is immigrant fiction.

I don’t think authenticity is all about the outside view. Preeti Chhibber at Book Riot expresses her fondness for books about Indian characters by Indian authors who know the culture. In An Offer We Can’t Refuse, George di Stefano wrote about how much of The Godfather connected with him for being so very Italian (no, not the part where Italians are all mobbed up).

But at the same time, I do think Bremmer and Loomis raise good points. Most importantly, Loomis argues that whether food is “authentic” has nothing to do with whether it’s good; I’d say the same is often true of fiction. I could certainly write a more authentic story of being an English ex-pat in America than NK Jemisin but the odds are she’d write a better story; that’s why she won all those Hugos.

And authenticity really is subjective when we judge a culture we don’t know. Daniel José Elder’s Shadowshaper felt authentic when I read it, but as I said at the time “if he were pulling it all out of his butt, I wouldn’t have a clue.”

It is important to get it right, whatever “it” is, but if that required “authentic” writing then we’d have nothing to draw on but personal experience. Take CL Moore’s Doomsday Morning, which I just finished. The story involves a theatrical troupe caught up in a government plot and the stage details are just perfect. Struggling to come up with stage business to fill a slow expository scene. Adapting to theater in the round when you only know conventional staging. Rehearsing your lines until they feel absolutely canned, then finally feeling them sound spontaneous again.

Did Moore have a lot of theater experience? I can’t find any reference to it, which doesn’t prove anything (if it was community or college, biographers might not know); maybe she talked to someone who does have experience and listened. But I don’t care whether it’s her authentic experience or not, because she got it right.

#SFWApro. Shadowshaper cover photo by Michael Frost, cover design by Christopher Stengel; all rights to images remain with current holder.


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Women of Wonder: This week’s reading

The Witch World sequel WEB OF THE WITCH WORLD is an apt title as the Kolder are now using mind-controlled Enemies of the Estcarp Way in an elaborate plot to ensnare the witches; when the scheme stretches to include kidnapping Loyse, Simon and Jaelithe start spinning webs of their own (though as other shave pointed out, their plots fall by the wayside). A major plot point is Jaelithe discovers losing her virginity didn’t cancel out her powers, leaving Simon worried she’ll return to her old life (it’s a nice touch that Jaelithe never sees any conflict between Career and Family) while the witches mutter about Jaelithe doing the impossible (which pays off in the next book). One of those sophomore installments that sells the series.

JUDGMENT NIGHT by CL Moore collects several short stories along with the eponymous space-adventure novel. Jaille is princess and heir to the reigning Galactic Empire, horrified her father is actually willing to talk peace with their rising rival, the H’Vali. Perhaps she should see to it that peace doesn’t happen … but then it turns out the H’Vali leader Egide is the man she had a one-night stand with on a hedonistic pleasure planet. Will either of them turn from their course? And what of the Ancients, the all-powerful entities getting ready to judge humanity and pronounce sentence on their continued rule of the galaxy.

This doesn’t work for me as well as Moore’s Northwest Smith stories does, partly because it’s more serious and less pulpish, partly because the protagonists are both antiheroes, and not the likable outlaw kind Smith embodies. Still, it’s a good story with a good female lead and I did not expect the way it turned out.

THE BEST OF LEIGH BRACKETT was part of the same anthology series as the Best of CL Moore collection I read a couple of months back. All these DelRey “best of” collections had an introduction and this one, by Brackett’s husband Edmond Hamilton, was one of the most fun. Hamilton talks about his wife’s writing, why they never collaborated except for one story (he plots everything out, she pantses) and a lot of fun personal stories.

The stories themselves are an excellent lot. The Jewel of Bas about two thieves caught up in a battle for the fuure of their world; Shannach — The Last! in which an ancient Mercurian enslaves human colonists; The Moon That Vanished, in which a broken man is forced on a quest for the ultimate McGuffin; and Enchantress of Venus, one of her Eric John Stark’s stories (if I still DMed, I’d totally work the Red Sea of Venus into my campaign). The other stories are good, except Vanishing Venusiasn with its ugly colonialism (“Wow, Venusians are soulless monsters, we needn’t have any qualms about wiping them out and taking their land!”). Hamilton suggests a running theme in Brackett is of a strong man who attains his dream and discovers it’s hollow; he has a point, but several stories also fit a theme of “reality is better than dreams” (made explicit in Jewel of Bas).

#SFWApro. All rights to images remain with current holders; top cover is uncredited, bottom is by Boris Vallejo.


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Bad girls, a future Earth, a nuclear hero and witches: books read

BAD GIRLS: Young Women, Sex and Rebellion Before the Sixties by Amanda H. Littauer is the flip side to Trials of Nina McCall, looking at the kind of sexually active women the American Plan longed to lock up somewhere. Littauer’s selection includes “victory girls” who partied with soldiers during WW II, lesbians, prostitutes, kids going steady (which teens rationalized made it OK to have sex) and women discussed in and responding to the Kinsey Report on female sexual activity. Informative, but Littauer’s style is stiff even for a university press book, and I can’t help feeling there’s something missing, though I’m not sure what.

EARTH’S LAST CITADEL by CL Moore and Henry Kuttner starts in 1943 as protagonist Alan helps a brilliant, crotchety scientist escape from the Nazis. As the Nazi agents (a former mob triggerman and an Karen, an adrenaline junkie who does spy work for the thrills) catch up with them, all four are trapped by an ET, then thaw out in the very, very distant future, after the ET’s race has xenoformed Earth to their liking, then died out. Exploring the strange title city, the quartet (fully aware that their political disagreements mean very little now) discover an Eloi like race, a malevolent telepath — oh, and one of the aliens may not have died after all …

This is exotic, imaginative and colorful, the kind of pulp stuff I love. However, while I enjoyed it, it’s kind of a mess; the plot changes direction so much I wonder if they were making it up as they went along and kept changing their minds (it was serialized, like a lot of SF stories at the time). Karen is an interesting character but she virtually vanishes, with more attention going to Alan’s Eloi love interest; nor do they do anything with the idea the scientist, while brilliant, would sooner party than work.

Cary Bates redefined Charlton Comics’ Captain Atom (the prototype for Dr. Manhattan in Watchmen) in his 1980s series, turning him into a government agent posing as a superhero to infiltrate the metahuman community. Nobody who followed Bates did anything good with the character, and DC’s New 52 turned him into a Dr. Manhattan knockoff. Now comes THE FALL AND RISE OF CAPTAIN ATOM by Bates and Greg Weisman which allows Bates to reboot the character close to Bates 1980s version. In his last battle, Captain Atom apparently dies but actually gets thrown back to the past. When he returns (I’m simplifying a lot of plot here)  he presents himself as a new, improved legacy hero — but what about the family he left in the past? And can he really trust his military superiors? Nothing’s been done with it since, and I’m not sure how it works for anyone who doesn’t love the 1980s version, but I give it solid thumbs up.

Andre Norton’s WITCH WORLD was an insanely weird genre mash-up when I read it in the 1970s (about ten years after it appeared). Simon Tregarth begins as a veteran forced into a life of crime which is about to get him killed. A mysterious occultist offers him an escape via the Round Table’s Siege Perilous, which magically takes anyone who sits in it to the world they belong.

From that thriller opening (which I like enough I’m working on a variation of it) Simon arrives in Estcarp, a land ruled by a matriarchy of witches. Already surrounded by hostile nations, they’re now facing the threat of the sinister Kolder, who turn out to be a high-tech race as alien to the “witch world” (never called that, it’s just the world) as Simon.

It’s a good book with some interesting characters; I particularly like that Simon, while competent, isn’t a chosen one or a superman, he’s just a competent soldier. He doesn’t really do anything spectacular until the final section of the story. Given how many protagonists I see who are devastatingly bad-ass, this was refreshing.

#SFWApro. Top cover by Tim Hildebrandt, middle by Lawrence, bottom by Jack Gaughan


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CL Moore and my love of pulp

Rereading THE BEST OF C.L. MOORE reminded me how good a writer she is. And like Leigh Brackett’s Sword of Rhiannon, it also reminded me how much I love a certain kind of pulp SF.

The book collects an excellent list of stories including her first story Shambleau, (I wish I’d been that good when I started) starring space adventurer Northwest Smith, and the sequel Black Thirst; the first Jirel of Joiry story, Black God’s Kiss; and several stand-alones including the very good love story Bright Illusion, the frustrating alternate futures yarn Greater Than Gods, her classic Vintage Season (way better than I remembered it) and my least favorite, No Woman Born. This story of a famous actor/singer/dancer transplanted into a metal body has some great ideas about what makes us human but they’re dealt with mostly in drawing-room SF style, with the characters sitting around and talking about them. And the emphasis on Deidre as some freak who can’t possibly feel human any more feels uncomfortably close to disability cliches.

Greater Than Gods has a great concept: a scientist deciding between marriage to another scientist and a socialite receives simultaneous cross-time messages from his descendants in both timelines. One is a sweet, wonderful young woman in a timeline where humanity has gone full Eloi; another is an idealistic young man in a militaristic totalitarian state. And it’s the scientist’s choice of partner that will bring one or the other future into existence … so out of the blue, he proposes to his assistant, guaranteeing a middle path. That made no sense on first reading, nor now.

But then we get Black God’s Kiss which sends Jirel, ruler of the province of Joiry, into Hell to get revenge on the man who conquered her kingdom. Moore’s Hell is both weird and creepy, like one scene where a herd of blind horses rushes by Jirel and one of them suddenly rears up and screams out a woman’s name, then rushes on. That stuck in my head for years (the ending of the story, though, is, as they say, problematic).

Black Thirst is the one that captures what appeals to me about some of the old stories (and I emphasize it’s a matter of appeal, not a claim they’re somehow better than modern stuff). On Venus, a woman named Vaudir leads Smith into the fortress of the Minga, a race of stunningly beautiful courtesans bred for centuries under the fortress’ hereditary leader, the Alendar. Vaudir wants Smith to kill her master, but that, of course, is tougher than it sounds. He’s (there’s never been more than one Alendar) the human form of some prehuman ooze creatures dwelling below the fortress. The Alendar captures them and his telepathic attack reveals his ancient racial secrets to Vaudir, leaving her traumatized. He reveals that beauty is a kind of energy, and his people feed on it, hence breeding the Minga (why they sell some of them isn’t explained, but I don’t think that’s a huge issue). Taking Smith and Vaudir deeper into the fortress he shows Smith women whose beauty is so heightened it’s almost beyond human comprehension.

While I generally prefer my magic to be magic, not science, this kind of thing is an exception. It’s fantasy in all but name, and the concepts no longer feel very scientific (I don’t know if they ever did): prehuman races, psychic abilities (another story refers to the energy of our brains leaving impressions on our homes), the beauty force — for me it hits the sweet spot between science and sorcery. It stirs me more than when people use contemporary tech as magic (“I turned that man into a frog by using nanotech to rebuild his body at the molecular level!”).

I’ll be reading more Moore and Brackett this year. Hopefully I’ll enjoy it all just as much.

#SFWApro. Cover by Hildebrandt brothers, all rights remain with current holder.


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