The Short Story Thread

The mag says Starman story is Galactic Adventure, is it really Space opera story of hers?
The Vardda stranglehold on the galaxy may have been economic rather than militaristic but it was no less strong, suffocating or rebellion building. I wouldn't put it in the same league as Doc Smith but it's in the same ballpark. "Galactic Adventure", "Scientifiction At Its Best" (as it's written on the spine), space opera, they're all reflections of each other from the same fun house mirror.
 
I just read a short story by E M Forster: "The Machine Stops" in the Penguin mini classic edition that contained only one other story: "The Celestial Omnibus". This was my first reading of the author.

I really liked "The Machine Stops", an allegory exploring what Forster obvious thought were humanity's increasing tendency to seek isolation both from direct contact with others but even from direct experience itself.
 
"Longtooth" by Edgar Pangborn (From Good Neighbors and Other Strangers; included in David Hartwell's Foundations of Fear)

It seems strange to me to pair Pangoborn's name with the word "horror." Pangborn was the most compassionate and empathetic of writers, not one to try to scare the reader, more inclined to a gentle, wry humor and a contemplation of good will and how sometimes good will isn't enough. But "Longtooth" is definitely horror. It's also just as definitely a Pangborn story.

Harp is married to Leda. At 56 Harp is bordering on old -- the story was published in 1970 and ideas of what was old were a bit different before us Baby Boomers ripened enough to extend "old" outward -- and Leda is 28, a fact Harp's friend Ben, our narrator, ponders on. Ben is an old friend of Harp's, a year older and less healthy, already feeling the effects of a failing heart and lungs battered by heavy smoking. He has come back to Darkfield after the deaths of his wife and his brother, settling in expecting to retire quietly. Visiting Harp to bring him a book, he is snowed in and immersed in an adventure he's not truly prepared for.

Over the brutal Maine winter Harp has heard noises off in the woods around his house. And one of his cows was killed after a crossbeam of the fence had been pulled out, and the cow led off into the woods before being slaughtered and eaten. Harp is an experienced woodsman but can't find the trail of the killer; he suspects it reaches the woods and travels tree to tree. Ben wonders about Harp and the pressure on an aging man of a young wife, even if his every move and glance at her is filled with adoration. But then Ben hears the sounds, too, and even sees the shadow of the thing, and while Harp and Ben are busy with the livestock, something crashes in the bedroom window and Leda is taken.

The town officials are more than skeptical, they don't believe Ben and Harp, and so the two are on their own to find the truth and avenge Leda.

"Longtooth" explores aging -- in this it might make an interesting companion read with Bradbury's Something Wicked This Way Comes -- and the effects on a man of losing the trust of his community, of losing his wife, and wondering about his sanity. If "Longtooth" doesn't reach the heights of terror of other outdoor horror stories like "The Willows", it applies the decency innate in all of Pangborn's work to a melancholy and sad effect, and reminds us some forms of dread do not issue solely from the thing in the night.

About Good Neighbors and Other Strangers, it's been about 30 years since my second reading of this collection, and I'm enjoying it every bit as much as back then. Pangborn, rich in humor and observant and tolerant, makes a good companion for quiet nights. It's a pity his short fiction isn't readily available, although I see the title story can be purchased for Nook and Kindle.


Randy M.
 
Randy M.: great writeup - thanks for that. It sounds very interesting.

I just read a short story by E M Forster: "The Machine Stops" in the Penguin mini classic edition that contained only one other story: "The Celestial Omnibus". This was my first reading of the author.

I really liked "The Machine Stops", an allegory exploring what Forster obvious thought were humanity's increasing tendency to seek isolation both from direct contact with others but even from direct experience itself.

That's one of only two stories in the SFWA's Hall of Fame from before the Amazing-era (1909, I think) - along with some obscure piece called The Time Machine (1895) by someone called Wells. :)

Re: Varley: I came across an article that prompted a thread on him.

(Sorry if this post isn't much but a "token expiration"/javascript issue a couple of days ago resulted in the loss of the original of this post and the Varley thread and this is all I can remember and/or muster up the energy to reproduce.)

-- Oh, and I meant say that I've read/got the Ballantine of the Brackett and liked it but have to confess the magazine version seems to have a little something extra to it. :)
 
I've just finished a good collection: "The Mark of the Beast and other tales of Horror" by Rudyard Kipling (edited by S. T. Joshi).

I was struck when reading the story "The House Surgeon" (from 1909) the use of the word: "Groovy". Naturally, I was quite surprised as I thought it was a far more modern word and didn't seem to be being used in the same way as it is today:
She'd give anything to be able to believe it, but she's a hard woman, and brooding along certain lines makes one groovy.
Doing a google search reveals that it is commonly thought of to have originated in the 30's African/American jazz scene. However it was clearly around before then but perhaps it was re-invented then with it's modern meaning.
 
I've just finished a good collection: "The Mark of the Beast and other tales of Horror" by Rudyard Kipling (edited by S. T. Joshi).

I was struck when reading the story "The House Surgeon" (from 1909) the use of the word: "Groovy". Naturally, I was quite surprised as I thought it was a far more modern word and didn't seem to be being used in the same way as it is today:

Doing a google search reveals that it is commonly thought of to have originated in the 30's African/American jazz scene. However it was clearly around before then but perhaps it was re-invented then with it's modern meaning.

According to the OED, it was being used in 1853 in the sense of "Of or pertaining to a groove; resembling a groove". In a way, the 1960s usage just slide a bit along an established ... er ... groove.


Randy M.
 
I just read a short story by E M Forster: "The Machine Stops" in the Penguin mini classic edition that contained only one other story: "The Celestial Omnibus". This was my first reading of the author.

I really liked "The Machine Stops", an allegory exploring what Forster obvious thought were humanity's increasing tendency to seek isolation both from direct contact with others but even from direct experience itself.

Thanks to Allegra in the Buying Books Online thread I now know other readers of this thread can check out "The Machine Stops" (and much much more) for free if they don't happen to already have it. (Gutenberg also has "The Celestial Omnibus", IIRC.)
 
Since I am currently reading Orbit 11 (1972, edited by Damon Knight), I thought I might review the stories as I finish them.

"Alien Stones" by Gene Wolfe. The captain of a starship discovers what appears to be an empty alien vessel. Adding to the mystery is the disappearance of the husband of the ship's empath. That makes it sound like a Star Trek adventure, and there's a touch of that tone to it (lots of comparisons between the starship and a sailing ship, for example) but it's a lot more introspective that that, with much of the tension deriving from the captain's love for the empath. (I have to admit that I was a little annoyed by the fact that this adult married woman was always called "the girl," but that's 1972 for you.) Not quite the polish and grace of later Wolfe, but a solid story.
 
"Spectra" by Vonda N. McIntyre. The narrator lives in a strange, dystopic future where her eyes have been replaced by machines. Mysterious "others" force her and other eyeless folks to live in small chambers and do some kind of inexplicable "work" where they are connected to some kind of machine through their prosthetic eyes. It's certainly grim enough; the only "plot" involves things getting even worse for the narrator, who has vague memories of having eyes and seeing the outside world as a small child. Very little is explained, adding to the eerie mood. Told in what was then the trendy first person present tense, this story could be accused of overwriting, but it's certainly vivid enough in its surreal misery.
 
"I Remember a Winter" by Frederik Pohl. Not speculative fiction at all, even by my very liberal definition. The narrator thinks back to the death of a boyhood friend, and to an affair he had with the friend's sister War Two. He contemplates how countless tiny random events can have enormous consequences. A wistful, bittersweet, nostalgic tale, and a fine one.
 
Well, if you're considering whether it qualifies as "speculative" fiction, you could make a case that it's philosophically speculative but that's kind of my problem with "speculative" anyway - even more vague than science fiction. It's collected in Pohl's In the Problem Pit and he says there that even he wasn't sure anyone else would think it was science fiction. But, otherwise, yours was pretty much my reaction, too - not SF but very good, regardless.
 
"Doucement, S'il Vous Plait" by James Sallis. Kafkaesque surrealism as the narrator, once a writer, is now a letter being mailed all over the world, seeking its destination. Surprisingly effective description of what it would feel like to be a letter being handled through various post offices. The stuff about being a writer is less effective. (The title appears to mean "Gently Please," although a better translation in this case might be "Handle With Care.")
 
"The Summer of the Irish Sea" by C. L. Grant. Depicts, in a very oblique way, a future in which violent criminals are made to live in the wilderness and are hunted down like animals. The fact that the viewpoint character has had his mind and memory altered in some way or other (so that just about all he knows is how to survive in the wild by eating small animals) makes the story less of a violent action/adventure yarn (although it's certainly gruesome enough) and more of an introspective tale. The result is similar to "Spectra" reviewed before; a nasty future seen through a glass, darkly.
 
"Good-bye, Shelley, Shirley, Charlotte, Charlene" by Robert Thurston. This starts off with a fantasia in which the narrator imagines God as a card dealer who keeps handing him the Ace of Spades. After that, we go into a more normally narrated story of how the narrator loses his beloved wife when they wind up in a town where everybody claims to know her under a different name, and how he tracks down several of her exact doubles. I would have dumped the opening section and gone straight into the story, which is sort of an upside-down and inside-out version of Harlan Ellison's "All the Birds Come Home to Roost."
 
"Father's in the Basement" by Philip Jose Farmer. Father's trying to write a great novel, you see, and his strange little daughter helps him finish it in her own special way. You may see the end of this little horror story coming, but it certainly draws you in.
 
"Down by the Old Maelstrom" by Edward Wellen. Dumps us right into a mad nightmare as six students try to get out of East Germany past guards who resemble the Marx Brothers. Lots of crazy stuff happens, with lots of wordplay, at a lightning pace, until we realize that the six are actually in a dream research laboratory trying to wake up. A bit too manic for my taste. I get the impression the author wrote as quickly as possible, letting word association and Joycean puns lead him along.
 
"Things Go Better" by Geo. Alec Effinger. A hippie musician hitchhikes around Pennsylvania and winds up in a strange town. A satire on conformity disguised as a horror story. Not bad.

"Dissolve" by Gary K. Wolf. Jumpy, difficult-to-follow story of a guy amusing his wife, who seems to be brain-damaged from the disease that is killing her, by creating his own TV shows. Mostly consists of parodies of TV programs. Odd mixture of satire and grimness.

"Dune's Edge" by Edward Bryant. Five people find themselves climbing an endless sand dune. Mostly character studies in this symbolic and surreal variation on the myth of Sisyphus.
 
"The Drum Lollipop" by Jack M. Dann. Something strange invades a family home, eventually controlling them all, and their neighbors, with love. Difficult to follow, partly because it's seen through the eyes of a little girl, partly because there are a lot of weird things in it I don't quite understand.
 
"Machines of Loving Grace" by Gardner R. Dozois. Brutal depiction of a world with the technology to keep you alive, whether you want to live or not. No surprises here, but vividly told.

"They Cope" by Dave Skal. Spare depiction of the psychological effects of a future world which overwhelms people with sensory overload.
 

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