The Year's Best Science Fiction: Twentieth Annual Collection Page 3

  Black Gate, the new large-format fantasy magazine, managed two fat issues out of a scheduled four. Although ostensibly a fantasy magazine, they remain very broad-church in their definition of fantasy, but the magazine did feature good stories this year, whatever you define them as, by Ellen Klages, Mike Resnick, Cory Doctorow, Bill Johnson, Gail Sproule, and others.

  I don’t follow the horror semiprozine market anymore, but the most prominent magazine there, as usual, seems to be the highly respected Cemetery Dance.

  Your best bets in the critical magazine market, and by far the most reliably published, are the two “newszines,” Locus and Chronicle (formerly Science Fiction Chronicle), and David G. Hartwell’s eclectic critical magazine, perhaps the best critical magazine out there at the moment, The New York Review of Science Fiction. There have been a few changes here, at least with the newszines: Locus’s longtime and multiple Hugo-winning editor, Charles N. Brown, supposedly retired in 2002, turning the editorial reins over to Jennifer A. Hall, but since the magazine is still put together in his living room, most insiders guess that he won’t actually “retire” until they pry the magazine from his cold dead fingers. Science Fiction Chronicle was taken over by Warren Lapine’s DNA Publishing Group last year, and this year, longtime editor and Hugo-winner Andy Porter left the magazine he’d founded, among swirling rumors that he’d been fired; he was replaced as News Editor by John Douglas, the title of the magazine was changed to Chronicle, and its formerly erratic publishing schedule was stabilized. One issue of Lawrence Person’s playful Nova Express was published this year, but the editor is considering turning the magazine into an online “electronic magazine” (which I suspect will eventually be the fate of most critical semiprozines). There were several issues of The Fix this year, a welcome new short-fiction review magazine brought to you by the people who put out The Third Alternative.

  Locus, The Newspaper of the Science Fiction Field, Locus Publications, Inc., P.O. Box 13505, Oakland, CA 94661—$56.00 for a one-year first class subscription, 12 issues; The New York Review Of Science Fiction, Dragon Press, P.O. Box 78, Pleasantville, NY, 10570—$32.00 per year, 12 issues; Nova Express, P.O. Box 27231, Austin, TX 78755-2231—$12 for a one-year (four issue) subscription; On Spec, More Than Just Science Fiction, P.O. Box 4727, Edmonton, AB, Canada T6E 5G6—$18 for a one-year subscription; Aurealis, the Australian Magazine of Fantasy and Science Fiction, Chimaera Publications, P.O. Box 2164, Mt. Waverley, Victoria 3149, Australia—$43 for a four-issue overseas airmail subscription, “all cheques and money orders must be made out to Chimarea Publications in Australian dollars”; Albedo, Albedo One Productions, 2 Post Road, Lusk, Co., Dublin, Ireland—$34 for a four-issue airmail subscription, make checks payable to “Albedo One”; Pirate Writings, Tales of Fantasy, Mystery & Science Fiction, Absolute Magnitude, The Magazine of Science Fiction Adventures, Aboriginal Science Fiction, Weird Tales, Dreams of Decadence, Chronicle—all available from DNA Publications, P.O. Box 2988, Radford, VA 24142-2988—all available for $16 for a one-year subscription, although you can get a group subscription to all five DNA fiction magazines for $70 a year, with Chronicle $45 a year (12 issues), all checks payable to “D.N.A. Publications”; Tales of the Unanticipated, Box 8036, Lake Street Station, Minneapolis, MN 55408—$15 for a four-issue subscription; Artemis Magazine: Science and Fiction for a Space-Faring Society, LRC Publications, 1380 E. 17th St., Suite 201, Brooklyn NY 11230-6011—$15 for a four-issue subscription, checks payable to LRC Publications; Talebones, Fiction on the Dark Edge, 5203 Quincy Ave. SE, Auburn, WA 98092—$18 for four issues; The Third Alternative, TTA Press, 5 Martins Lane, Witcham, Ely, Cambs. CB6 2LB, England, UK—$22 for a four-issue subscription, checks made payable to “TTA Press”; Black Gate, New Epoch Press, 815 Oak Street, St. Charles, IL 60174—$25.95 for a one-year (four issue) subscription; Lady Churchill’s Rosebud Wristlet, Small Beer Press, 360 Atlantic Avenue, PMB #132, Brooklyn, NY 11217—$12 for four issues, all checks payable to Gavin Grant; The Fix: The Review of Short Fiction, TTA Press, Wayne Edwards, P.O. Box 219, Olyphant, PA 18447—$28.00 for a six-issue subscription, make checks payable to “TTA Press”; Andromeda Spaceways Inflight Magazine, P.O. Box 495, Chinchilla QLD 4415 Australia—$35.00 for a one-year subscription. Many of these magazines can also be ordered online, at their Web sites; see the online section for URLs.

  Yet again, it was a pretty weak year for original anthologies.

  The best original SF anthology of the year, with almost no competition, was Mars Probes (DAW), edited by Peter Crowther. Having said that, I must admit that I found Mars Probes somewhat disappointing overall, in comparison with Crowther’s 1999 anthology Moon Shots. With all the good science fiction that’s been written about Mars at novel-length in recent years, I’d hoped for a really solid, definitive collection of core SF, reflecting some of the recent science fiction thinking about the Red Planet, and there is some of that here—but a great deal of the anthology (too much of it, in my opinion) is devoted to fabulations and homages drawing not on scientific fact but on other fictional versions of Mars, from Bradbury’s “Mars” to Burrough’s “Barsoom,” including an uncannily spot-on pastiche/homage of Leigh Brackett’s pulp-era Martian stories by Michael Moorcock. Even Paul McAuley, who has done some of the best of the recent work about Mars, contributes a near-mainstream story set in a Martian theme park rather than a hard-science story. Most of this stuff is clever, well-crafted, and entertaining, but it makes the anthology as a whole a little more insubstantial as a science fiction anthology than I was hoping it would be (perhaps the problem is with my own expectations rather than with the anthology itself); in spite of these quibbles, though, it’s still easily the best SF anthology of the year. The best story in Mars Probes is Ian McDonald’s “The Old Cosmonaut and the Construction Worker Dream of Mars,” but there’s also good work here by Stephen Baxter, Alastair Reynolds, Eric Brown, Gene Wolfe, Allen Steele, and others.

  It’s nearly impossible to come up with a follow-up candidate for best original SF anthology this year, although there were several anthologies with one or two good stories apiece in them. The most solid of these overall was probably 30th Anniversary DAW: Science Fiction (DAW), edited by Elizabeth R. Wollheim and Sheila E. Gilbert; a lot of the stuff here is just fragments of larger story-arcs, depending on your familiarity with long-running DAW novel series for full effect, but there is some good self-contained work here by Neal Barrett, Jr., Brian Stableford, C. J. Cherryh, Charles L. Harness, Ian Watson, and others. Once Upon a Galaxy (DAW), edited by Wil McCarthy, Martin H. Greenberg, and John Heifers, an anthology of fairy-tales retold as science fiction, has some clever stuff in it. The best story here is by Paul Di Filippo, but there is also good stuff by Gregory Benford, Stanley Schmidt, Scott Edleman, Thomas Wylde, and others. Sol’s Children (DAW), edited by Jean Rabe and Martin H. Greenberg, features good but unexceptional stories by Timothy Zahn, Michael A. Stackpole, Kristine Kathryn Rusch, the late Jack C. Haldeman II, and others. Oceans of Space (DAW), edited by Brian M. Thomsen and Martin H. Greenberg, is largely unimpressive, but has decent stories by Andre Norton, Mike Resnick, Simon Hawke, and others.

  PS Publishing, edited by Peter Crowther, which for the last couple of years has been bringing out novellas in individual chapbook form, produced another bunch of titles this year, including the excellent V.A.O., by Geoff Ryman, good novellas such as Riding the Rock, by Stephen Baxter, The Tain, by China Mieville, and others. Golden Gryphon Press got into the same business this year, bringing Alastair Reynold’s first-rate novella Turquoise Days out as an individual chapbook. You’re more likely to find really good science fiction in these chapbooks than you are to find it in most of the second-tier anthologies mentioned above.

  There were three original Alternate History anthologies this year, the best of which was Worlds That Weren’t (Roc), edited by Laura Ann Gilman; the best story here is Walter Jon Williams’s strange novella “The Last Ride of German Freddie,” but the book also features good novellas by Harry Turt
ledove, Mary Gentle, and S. M. Stirling. Alternate Generals II (Baen), edited by Harry Turtledove, is also worthwhile, although it may appeal more to military history buffs than to the average reader, since a number of the stories here require more knowledge of the intricate details of past wars for full appreciation than the average reader is likely to possess. The best story here is William Sanders’s “Empire,” although there is also good work by Judith Tarr, Michael F. Flynn, Susan Shwartz, and others (I do wonder, though, how many people are going to be willing to pay $24.00 for this: I think they would have been better off bringing it out as an inexpensive mass-market paperback, like the first Alternate Generals anthology, than as an expensive hardcover). Alternate Gettysburgs (Berkley), edited by Brian M. Thomsen and Martin H. Greenberg, is even more specialized—if you’re not reasonably au courant with the American Civil War, and especially the Battle of Gettysburg, you might as well forget it; most of the stories in these three books are alternate history, unsurprisingly enough, but the best story in Alternate Gettysburgs is an SF story by William H. Keith, Jr., although there are also good stories by Kristine Kathryn Rusch, Brendan DuBois, and others here, probably enough to make it worthwhile as a $6.99 paperback (I wouldn’t have wanted to buy it as a $24.00 hardcover).

  There was supposedly a new volume in the assembled-online “SFF.net” annual anthology series this year, called Beyond the Last Star, edited by Sherwood Smith, but I never saw it; I’ll have to save it for consideration for next year.

  As usual, L. Ron Hubbard Presents Writers of the Future Volume XVIII (Bridge), edited by Algis Budrys, presents novice work by beginning writers, some of whom may later turn out to be important talents. Much the same could be said of Empire of Dreams and Miracles (Phobos), edited by Orson Scott Card, which features winners of the 1st Annual Phobos Fiction Contest.

  In terms of literary quality, the line-by-line quality of the writing, the best anthology of the year may well be Conjunctions 39: The New Wave Fabulists, a special issue of the literary publication Conjunctions guest-edited by Peter Straub—although some genre fans are going to find it disappointing in spite of the bravura quality of the prose. The (somewhat unclear) intention here seems to have been to produce an “all genres” anthology aimed at the mainstream literary audience, but there is almost no science fiction here—with the exception of a good Alternate History story by John Kessel, “The Invisible Empire”—and surprisingly, considering that horror superstar Peter Straub was the editor, almost no horror either; most of the stories fall somewhere on the line between fantasy and slipstream / surrealism / Magic Realism / whatever-we’re-calling-it-this-month, although several of the anthologies very best stories, such as Karen Joy Fowler’s “The Further Adventures of the Invisible Man” and John Crowley’s “The Girlhood of Shakespeare’s Heroine,” strike me as straight mainstream stories (in spite of Straub’s rather too-clever attempts to argue that the Crowley is really a fantasy story after all). Although Straub does brandish the term “post-transformation fiction,” it’s hard for me to perceive that any coherent critical argument is being made here, or to discern why this particular group of authors are “New Wave Fabulists,” or what makes them so, or what that term means, or why they were selected rather than some other grouping of authors; it seems instead like the partially random selection of authors you’d get assembling any original anthology, depending largely on the luck of the draw, rather than a list of authors collected with critical rigor or to demonstrate some particular mode or emerging school of fiction. Still, if you set aside considerations of genre or of critical canon-forming, what you get is an anthology with some really good stuff to read in it. After the above-mentioned stories by Fowler, Crowley, and Kessel, the best stories here are Andy Duncan’s flamboyant “The Big Rock Candy Mountain” and China Mieville’s grisly “Familiar,” but the anthology also features good-to-excellent stories by Nalo Hopkinson, Neil Caiman, Elizabeth Hand, Peter Straub himself, and others, plus excerpts from forthcoming novels by Joe Haldeman and Gene Wolfe, a book well worth the $15 cover price, especially for those who don’t insist on drinking their genre neat.

  There were four other small press anthologies this year that mixed slipstream, horror, fantasy, and science fiction in their contents lists to varying effect, usually with science fiction the smallest element in the mix by far. Polyphony, Volume 1 (Wheatland Press), edited by Deborah Layne and Jay Lake, is more unambiguously a “slipstream” anthology than Conjunctions 39, with little that could be mistaken for any other genre, but is still worthwhile. The best story here is Maureen F. McHugh’s “Laika Comes Home Safe,” but Polyphony also contains good stuff by Andy Duncan, Lucius Shepard, Leslie What, James Van Pelt, and others. Leviathan Three (Ministry of Whimsy Press), edited by Jeff VanderMeer and Forrest Aguirre, mixes other fairly identifiable genres (mostly fantasy) in with the slipstream stuff, and mixes genres more within individual stories than most of these anthologies do (Brian Stableford’s story, for instance, mixes science fiction and fantasy to enough of a degree that it can only be called science-fantasy), and although there’s some over-pretentious and rather dull stuff here, there’s also some excellent work. The best stories here are “The Face of an Angel,” by Brian Stableford and “The Fool’s Tale,” by L. Timmel Duchamp, but there are also good stories by Jeffrey Ford, Carol Emshwiller, Stepan Chapman, and others. J. K. Potter’s Embrace the Mutation (Subterranean Press), edited by William Schafer and Bill Sheehan, is an anthology of stories supposedly inspired by the work of artist J. K. Potter (included in the book); not surprisingly, considering Potter’s sometimes grotesque work and the publisher’s usual fare, Embrace the Mutation leans a good deal more toward straight horror than the other three anthologies being discussed here, but there still are visitations from other genres, notably pure fantasy in a story by Elizabeth Hand and even science fiction in a story by Lucius Shepard—those two, in fact, “Pavane for a Prince of the Air,” by Elizabeth Hand, and “Radiant Green Star,” by Lucius Shepard, are the best stories in the book, but it also features good work by Michael Bishop, Kim Newman, John Crowley, Peter Crowther, and others. In the Shadow of the Wall (Cumberland House), edited by Byron R. Tetrick and Martin H. Greenberg, is an otherwise pretty good anthology, mostly of rather Twilight Zonish fantasy stories, that hampers itself a bit by insisting that all its stories deal centrally with the Vietnam Memorial (the Wall of the title. The best story here is Michael Swanwick’s bitter little story “Dirty Little War,” but there is also good work by Barry N. Malzberg, Orson Scott Card, Nick DiChario, and Byron R. Terrick himself.

  Two other small-press anthologies filled an odd and rather specialized literary niche: anthologies of stories about (or inspired by, in one case, to be precise) science fiction and fantasy bookstores. Shelf Life: Fantastic Stories Celebrating Bookstores (DreamHaven), edited by Gregg Ketter, the owner of the DreamHaven science fiction bookstore in Minneapolis. Shelf Life deals pretty centrally with the bookstore theme, here treated mostly as a variant of the “little magic shop” story in a sequence of mostly rather gentle fantasy stories, with some mild horror, by Gene Wolfe (with his “From the Cradle,” being, unsurprisingly, the volume’s best), P. D. Cacek, John J. Miller, and others, plus one SF story by Jack Williamson (a pleasant-enough anthology, but at $75.00, it’s wildly overpriced). The Bakka Anthology (The Bakka Collection), edited by Kristen Pederson Chew, has a looser theme, stories “inspired by” the authors having worked in the Bakka science fiction bookstore in Toronto, and, as might be expected, gathers a more eclectic crop of stories as a result, mostly science fiction, with some fantasy and harder-to-classify stuff thrown in. The best story here is Michelle Sagara West’s “To Kill an Immortal,” but there’s good work by Cory Doctorow, Nalo Hopkinson, Robert J. Sawyer, and others, here as well.

  The best original genre fantasy anthology of the year, again with little real competition, was probably The Green Man: Tales from the Mythic Forest (Viking) edited by Ellen Datlow and Terry Windling, which contained
good-to-excellent work by M. Shayne Bell, Tanith Lee, Delia Sherman, Emma Bull, Nina Kiriki Hoffman, Patricia A. McKillip, and others. 30th Anniversary DAW: Fantasy (DAW), edited by Ellizabeth R. Wollheim and Sheila E. Gilbert is also worth mentioning; although it suffers from the same faults as its SF brother-volume, it contains good work by Tanith Lee, Michelle West, and others. The rest of the year’s original fantasy anthologies were pleasant but minor, including, Knight Fantastic (DAW), edited by John Heifers and Martin H. Greenberg; Pharaoh Fantastic (DAW), edited by Brittiany A. Koren and Martin H. Greenberg; and Apprentice Fantastic (DAW), edited by Russell Davis and Martin H. Greenberg.

  Shared-world anthologies this year included Wild Cards: Deuces Down (ibooks), edited by George R. R. Martin; Thieves’ World: Turning Points (Tor), edited by Lynn Abbey; and Deryni Tales (Ace), edited by Katherine Kurtz.

  Although I don’t pay a lot of attention to the horror genre anymore, from what I could tell the big original anthology of the year there seemed to be Dark Terrors 6 (Gollancz), edited by Stephen Jones and David Sutton. Other original horror anthologies included The Children of Cthulhu: Chilling Tales Inspired by H. P. Lovecraft (Del Rey), edited by John Polant and Benjamin Adams and The Darker Side: Generations of Horror (Roc), edited by John Pelan.