Electronic OtherRealms #24 Spring, 1989 Part 6 of 10 Copyright 1989 by Chuq Von Rospach All Rights Reserved OtherRealms may not be reproduced without permission from Chuq Von Rospach. Permission is given to electronically distribute this issue only if all copyrights, author credits and return addresses remain intact. No article may be reprinted or re-used without permission of the author. The Contrapunk Manifesto Bruce Bethke Copyright 1989 by Bruce Bethke Hi. I'm Bruce Bethke. You may not know me, but I can guarantee you know the name of a story I wrote eight years ago: "Cyberpunk". Actually, I've started this three or four times. Once at Joel Rosenberg's behest; once after spending a miserable hour listening to Tom Maddox call me a "semiotic accident;" once after spending an equally miserable hour listening to Douglas Fratz tell me I was a freak of history who had nothing at all to do with the etiology of the term ("Don't you mean etymology?" I kept wanting to ask, but no, we midwesterners are too polite for that). And now, on looking at the latest edition of the Encyclopedia of Science Fiction a full two years after Gardner Dozois said he read the word "somewhere," a full two years after Bruce Sterling blamed it all on Gardner Dozois, a full two years after John Shirley accused me of renaming the story in order to exploit Gibson's success (which suggests an interesting theory of circular time flow) -- Hi. I'm Bruce Bethke. I thought you'd be interested in a little something I whipped up one day in a fit of pique and named, "The Contrapunk Manifesto" (I don't know what got into me; just one too many pompous essays by Sterling or Shirley, I guess). Here it is. There are some things in here that, in a later, saner moment, I will probably regret having said -- but use what you can. Only, credit me, okay? Speaking of credit: Okay, one more time for the record, here's the litany. I wrote "Cyberpunk" in the spring of 1980. I kept a handwritten journal at the time; the earliest dated entry that refers to the story by that title is 24 March 1980. On 1 June 1980 I sent the story to Asimov's. George Scithers, then editor of Asimov's, liked it but wanted me to make it longer. I complied, but he rejected the rewrite. ("There's no point to it," he said, an apt critique of much of the subgenre.) From there it bounced around all the majors, winding up in spring of 1981 at Amazing, where an assistant editor named Britton Bloom lost it for a year. After several months of increasingly frantic queries, during which time Amazing was bought by TSR, I resubmitted it in spring of 1982. The new editor, George Scithers (surprise!) still liked it, but wanted some changes. We worked out the bugs, and in September 1982 Amazing bought it. It was published in the November 1983 issue, which following TSR's standard practices, was actually released in September of 1983. Brad Denton claims he immediately gave it a Nebula rec. I can't verify this, since I was not a member of SFWA at the time, but I do know that shortly after it appeared in print Kiel Stuart wrote the very first hate letter about the story. That's history. All of the above is documented, annotated, audited, verified... As for the story itself? It's been picked up for Jerry Pournelle's Silicon Brains anthology, which I have been told by several Registered Cyberpunks is proof that is not true idealogically correct cyberpunk. (Although now that the story is being translated into Russian, I would like to get a second opinion.) At the same time, Scithers asked me to write a lot of sequels: I tried, but I write slowly and to be honest I had more interesting ideas to chase. "It Came From The Slushpile", most recently seen in the Best of Aboriginal anthology. "Worms!", also picked up for Silicon Brains, and most recently mentioned in the Washington Post (y' see, the story was about some asshole kid who turns a virus lose in ARPANET). Other stories which have appeared in Hitchcock's, Espionage, Easyriders, Amazing ... The first sequel to "Cyberpunk", a novelet titled "Elimination Round", is slated to appear in the May issue of Amazing (which will actually be on the newsstands in January or February.) The second sequel kept getting bigger, and bigger, and bigger. It's a novel now. 110,000 words in rough draft. Inquiries welcome; contact my agent, George Scithers. The title? Why, Cyberpunk, of course. I will tell you, we're having the very devil of a time proving ownership of that name, though. Any questions, comments, requests for further data exchange? You can write or call me via OtherRealms. Y'see? That's half my trouble with cyberpunk. Reality is a lot more interesting. The Contrapunk Manifesto THEY: Use SF as a medium for serious discussion of important social, political, and economic issues. WE: Write books that people read. THEY: Want SF to assume its rightful place at the forefront of speculative thinking, thereby becoming a serious, literary art form suitable for review in the New York Times and use in college literature classes. WE: Think that academic acceptance is akin to fossilization, and that SF should stay in the gutter where it belongs. THEY: Write lots of incestuous, self-congratulatory essays for Thrust, SF Eye, and other fanzines. WE: Try to be honest about when we're writing fiction, when we're writing non-fiction, and when we're writing marketing copy. THEY: Are indiscriminate nippophiles; if the Japanese animated it, it's got to be good. WE: Think Japan in the 21st Century will be like England today; a bankrupt island nation living on dreams of past glories. THEY: Think technology is cool, like drugs; got erections the first time they saw the MacIntosh "1984" commercial; and take a shamanistic approach to computers, building complex unseen worlds peopled by great, mysterious powers. WE: Stopped experimenting with drugs about the time our zits cleared up, have no desire to crawl into bed with Teddy Ruxpin, and think evil computers are about as credible as evil toasters. We believe that somewhere in Gibson's world there is a $4.50/hour drone who could blow all cyberspace to flinders by accidentally reversing two punchcards. THEY: Are due to start doing the Barry Malzberg any day now; that is, making loud announcements that they are leaving the field, with beaucoup parting shots at everyone who has failed to appreciate their collective genius and frequent call-backs to see if anyone has noticed they've left. WE: Actually like and respect the older professionals in our field, and will still be writing science fiction long after THEY have moved on to newer, more fashionable revolutions. The Agony Column Rick Kleffel Copyright 1989 by Rick Kleffel Necroscope II: Wamphyrii! [*****] Brian Lumley Grafton Paperback, $7.95, 0-586-20000-2 Next, After Lucifer [****+] Daniel Rhodes Saint Martin's Press, $16.95, 0-312-00567-9 Adversary [****+] Daniel Rhodes Saint Martin's Press, $17.95, 0-312-02148-8 Night Visions 6 [****+] Introduction by Dean R. Koontz. Stories by F. Paul Wilson, Sherri S. Tepper, Ray Garton Dark Harvest, $19.95, 0-913165-35-2 The Year's Best Horror Stories XVI [***] Edited by Karl Edward Wagner DAW Paperback, $3.95, 088677-300-8 Unlike science fiction and fantasy, the horror genre has never proved to be a fertile breeding ground for the seemingly endless series. This is probably because the most successful writers in the horror field have never felt compelled to crank out a series of books -- something we can thank Stephen King for. But with the appearance of Anne Rice's Vampire Trilogy, now being extended into the Vampire Chronicles, more and more horror writers are adding sequels and prequels in hopes of writing the Lord of the Rings of the Horror Genre. No, the "definitive horror series" has not yet (and may never) appear, but a number of horror writers are using the form to stretch even further the boundaries of horror fiction's playground. Perhaps one of the most exciting examples of this is Brian Lumley's "Necroscope" series. In Necroscope II: Wamphyrii! (upcoming from Tor, and now available as a British paperback from Grafton). Lumley applies a master's touch of plot and character development to his thoroughly enjoyable mutation of Hammer-Horror-meets-Alien material. Don't be put off by the lurid covers -- this is first class writing, and an original version of the time-honored vampire theme. Lumley uses every aspect he can to flesh out his characters and drive the intricate wheels of his plot. Especially interesting is the early history of the "Master Vampire," stretching back to the year 900. But most importantly, Lumley does not lose sight of his characters in the midst of the slime and blood. And while each novel advances the overall story of Harry Keogh, they function well as works within themselves. They leave the reading wanting more, but not hanging off the edge of a cliff. Horror fans who like their scares complex but told with a smile can look forward to the next installment of the Necroscope series. At the other end of the spectrum we can find the sinister, understated writing of Daniel Rhodes, whose Next, After Lucifer and Adversary exemplify the very best of what is known as "quiet horror" in the series form. The first novel details the resurrection of Guillame de Courdeval, a 13th century Templar Knight who sold his soul to the devil, and sets the scene for a conflict between good and evil. What makes these novels outstanding is the controlled prose and the evocation of both the psycho- sexual and intellectual allure of evil. It's not unusual for evil to be portrayed as sexually appealing. But it is unusual for evil to be portrayed as intellectually appealing. In Adversary, this is the dominant theme, as Valcourt lures the characters into a trap bounded by their own emotions and understandings. It's an imaginative way to detail the fears and hopes of these characters, but don't let this fool you into thinking that these books aren't frightening or gripping reading. Here's that rare series that readers won't want limited to a trilogy. The concept of a series can extend beyond the boundaries of the novel. Take for example Night Visions 6 and The Year's Best Horror Stories XVI. In these series horror has found a stable showcase for the best talents to exercise their considerable powers. Night Visions 6 is another fine volume of all-original horror, featuring F. Paul Wilson, Sherri Tepper, and Ray Garton. F. Paul Wilson offers four well-crafted mainstream-style stories, the best of which tells the story of the "Facelift killer" -- a name the reader will never forget. "The Gardener," Sherri S. Tepper's contribution has an interesting premise, but is the least successful of the offerings. The best is Ray Garton's intensely personal "Monsters," which takes his own personal experiences with the Seventh Day Adventists into the realm of the horrific. It's a fine example of a story that might not have been published because of its almost confessional nature, but has found a home in Night Visions. The Year's Best Horror Stories XVI is another fine edition of this series reprints the best horror stories of the past year. It lives up to its promise, with "Popsy" by Stephen King, previously available only in the small press publication Masques II, and Brian Lumley's humorous "The Thin People." And just when you thought that the Cthulu and his cohorts were dead, Michael Shea powerfully resurrects them in "Fat Face," a story literally dripping in low life atmosphere. With the classic J.K. Potter illustration "Evil Twin" on the cover, it's a class act at a paperback price. Those Who Hunt the Night [*****] Barbara Hambly Del Rey/Ballantine, $16.95, 0-345-34380-8 The Wolf's Hour [****+] Robert R. McCammon Berkley, $4.95, 0-671-66485-9 Then there are the books that could, in a very good world, become part of a series. In this class we have Those Who Hunt the Night, by Barbara Hambly and The Wolf's Hour Robert R. McCammon. Those Who Hunt the Night is a first class combination of mystery and horror set in Victorian London. The mystery at first seems to be "Who is killing the vampires of London?" This in itself could provide the material for a decent thriller, but Barbara Hambly gives her detectives, James and Lydia Asher, a much more interesting problem: just what are the vampires of London? How a writer defines a vampire is often the measure of how good a vampire novel is, and Hambly's imagination is unbounded and inventive as James and Lydia explore the nature of the beast. The Victorian atmosphere is authentically recreated with well-written prose that stops one step short of being self-consciously artistic. Vampire novels are not noted for startling innovation, but Those Who Hunt the Night is crammed with delightful invention, and propelled by the tense, whodunit plot. It's more than enough to make readers hope that the Ashers will be given more problems to solve. The premise of Robert R. McCammon's The Wolf's Hour does not seem nearly so promising as that of Those Who Hunt the Night. It's a tribute to this writer's skill then, that Michael Gallatin -- Allied spy and werewolf -- comes alive as a character, and that The Wolf's Hour seems rich and detailed, an exquisitely entertaining history weaved with an elaborately imagined fantasy. The novel alternates between Gallatin's childhood as a member of family of werewolves in the Russian forest and his first mission as a spy for the Allies deep in the heart of Nazi Germany, trying to find the secret behind the Nazi "Iron Fist" project. This structure allows McCammon to keep the narrative tension high while simultaneously creating a complex, traditional romantic hero. It's mainstream horror with an almost Dickensian epic quality, and a main character who is left alive to have further adventures -- something most readers will certainly look forward to. Midnight [***+] Dean R. Koontz G. P. Putnam's Son's, $19.95, 0-399-13390-9 Nighteyes [***] Garfield Reeves-Stevens Doubleday Foundation, $18.95, 0-385-24755-9 Not every writer has decided to start a series. Dean Koontz's latest effort, Midnight is yet another variation on the werewolf theme, this time given Koontz's high tech SF-horror treatment. As usual, it's a tense exciting novel, and the scientific core of the horror is extremely clever. It's hard to say, then, why this novel is a disappointment. Perhaps it's because he's already covered this exact same territory before, writing as Leigh Nichols in Shadowfires; maybe it's the lack of an authentic Orange County location, or maybe he's stacking the odds by giving us two heroes who are Vietnam vets. Whatever the reason, this novel, while it is a compulsive page-turner, does not succeed in being more -- in the same way Watchers and Lightning did. There are some of the touches that make the reader care, but in the end this is pretty much just another techno-thriller. Much in the same vein is Nighteyes by Garfield Reeves-Stevens. If we do need another writer in the techno-horror vein, at least Stevens has the decency to have a rather original vision, in this case, of extra-terrestrial visitations as the source of numbing horror. But behind this is a optimistic and well-thought-out theory as to the source and reason behind these visits. The author has obviously done a great deal of research, and it makes for interesting reading. Add to this a talent for the surreal and an absolutely killer first sentence, and you have the makings of another shade to haunt the bestseller lists. Heatseeker [*****-] John Shirley Scream/Press, $19.95, 0-910489-26-2 John Shirley's Heatseeker, from Scream/Press, is a welcome exception to the "techno-thriller" trend in SF horror. This collection bears a great resemblance to the "horrific" work of Philip K. Dick, particularly The Three Stigmata of Palmer Eldritch- or Ubik. It's "reality gone soft" horror, expertly written and extremely imaginative. For example, in "What Cindy Saw," we simply experience a homecoming from a paranoid schizophrenic's point of view. It's disturbing, poetic, and often hilarious. In other stories, Shirley's uses the power of his ideas to scare the reader; witness the almost numbing description of what death is and how we can harvest it in "Under the Generators." Most importantly, every story has a great sentence, a great idea, and a memorable character. Add to this the usual fine design of Jeff Connor and the surreal illustrations of Henry Morris, and you have another fine example why Scream/Press can lay a claim to producing "the best of the best." Post Mortem [****+] Edited by Paul Olson and David B. Silva Saint Martin's Press, $16.95, 0-317-02631-5 Women of Darkness [**+] Edited by Kathryn Ptacek Tor, $17.95, 0-31293096-8 The New Girl Friend and Other Stories of Suspense [****] Ruth Rendell Ballantine, $3.95, 0-345-32879-5 Live Flesh [****] Ruth Rendell Ballantine, $3.95, 0-345-34485-5 With theme anthologies crawling out from every bloodied bodily orifice, it's not surprising that Post Mortem, an anthology of ghost stories, should make an appearance. It's edited by David B. Silva, editor of The Best of the Horror Show, and Paul Olson, the editor of HorrorStruck Magazine. They have managed to gather a collection of original ghost stories from familiar and unfamiliar names. Ramsey Campbell contributes "The Guide," which contains one of the most horrifying single paragraphs ever written; P. W. Sinclair, a humor columnist, offers "Coming Home," a moving, achingly realistic story; and Robert R. McCammon bring us "Haunted World," an apocalyptic SF story written that begs to be read out loud. Consistent beyond compare, this is a quintessential collections of ghost stories for the oh-so-hip world we think we live in. Horror is often thought of as a field of writing dominated by men. Disproving this notion Women of Darkness, edited by Kathryn Ptacek, which features a complete coverage of today's woman horror writers. Lisa Tuttle's "The Spirit Cabinet" is the top entrant in a collection that is long on psychological suspense and devoid of monsters. These stories are a refreshing break for those inundated with Stephen King and Clive Barker wanna-be's. Readers who want to read the top flight woman horror writer won't find her with the horror novels, and won't see her in the SF section. That's because Ruth Rendell is pigeonholed with the mysteries, due no doubt to the popularity of her Inspector Wexford novels. In between these novels, you'll find her novels of "suspense," which wickedly resurrect the psychological elements found in the stories of Edgar Allen Poe. Live Flesh takes the reader into the mind of Victor Jennings, who is certainly the creepiest rapist-murderer since Norman Bates. The title refers to a disease Victor, the narrator, possesses characterized by "crawling flesh or a nervous tic." Despite the low-key setting, this novel builds tension beautifully until the teeth grinding, terrifying climax. And finally, her short story collection The New Girlfriend is an all out feast of torment and twisted psyches. The title story alone will send the reader for a laughing loop-dee-loop to land on a rusty nail. In every instance, she uses a crystal-clear controlled prose that carries the reader effortlessly away from the sea of sanity with a smile on his face. They're good enough to make the reader want to read her series, the Inspector Wexford novels, each and every one of them. ------ End ------