McSweeney's 45

It's another anthology from McSweeney's, with dueling (ok, alternating) tales from a Bradbury anthology and a Hitchcock anthology. Some of them are classics (Bradbury's "The Pedestrian"), some are tediously long (Lucille Fletcher and Allan Ullman's "Sorry, Wrong Number"), one is out-of-place (John Cheever's "The Enormous Radio", while an excellent story, just doesn't quite feel like it belongs in here).

China Mieville's "The Design" is excellent and really impressed me, and Brian Evenson's "The Dust" certainly feels like it could be in a 50s/60s anthology. Kafka's "In the Penal Colony" is both terrifying and awful (and the machine described therein is featured in Gene Wolfe's Book of the Long Sun). Julian May's "Dune Roller" is an example of a really worthwhile story I was previously unfamiliar with (more than likely because Hitchcock, rather than Bradbury, picked it, but it certainly could have been a Bradbury pick). In contrast, Benjamin Percy's "Suicide Woods" doesn't belong in here, both because it has little in common with the other stories in the anthology, and because it has far too much in common with stories in other McSweeney's anthologies. I feel like I've read it a dozen times previously, and that's not a good thing, either for it or those other stories.

Overall, recommended. Even the stories I was less than thrilled with are page turners (and as far as page turners, the last story enclosed here is terrifying, and has a lot in common with a favorite, Alfred Bester's "Fondly Fahrenheit.")

The Guns of August

I'm not sure if there's anything I can say about Barbara Tuchman's The Guns of August that hasn't been said already. It's nothing if not tight, though -- yes, it's not a short work, and the subject matter isn't easily and quickly distilled, but Tuchman retains her focus throughout.

Tuchman starts with the funeral of King Edward VII in 1910:

"the greatest assemblage of royalty and rank ever gathered in one place and, of its kind, the last."

and moves with deftness through the pre-war conditions, of the Germans, the French, the Russians, and the British, as well as the psychology that drove those plans -- of Kaiser Wilhelm, of the French generals, of the Czar and the general staff, and the British government.

 How many children witness something that impresses them enough in early childhood to write a book featuring the incident? How many of those stories would be noteworthy? As a child, Tuchman (along with her family) witnessed the German battlecruiser SMS Goeben's mad dash across the Mediterranean to Constantinople, fleeing British pursuit, who had realized too late that she wasn't making a break for the Atlantic. In a paper move, she was purchased by the Ottoman government, and spent the rest of the war in their service. Tuchman (as she notes in the introduction) was fascinated by this, and incorporates it into her narrative. Is it wholly necessary? Not entirely, but it helps set the stage of the naval war. I would have preferred the Battle of the Falkland Islands have been incorporated, but that was in December, rather than August (although Tuchman sometimes reaches into early September and October)

I'm not sure that I know enough about the First World War to say that this is a comprehensive account of August 1914, but there's a wealth of information here, about both what actually happened, and the motivations of those actors, drawn from letters and memoirs.

I was honestly hoping this would be more about the July Crisis, but Tuchman's extensive account of the first month is so masterful, I was very disappointed when it ended on the eve of the First Battle of the Marne. Recommended highly.

Heart of a Dog

There's a reason this wasn't published in Russia until 1987, and it had nothing to do with the quality of this novel. Written during the height of the NEP period, it's a transparent satire of the life of both the arrivistes and the old money.

At first I thought this was going to be a work along the lines of Jack London, as it opens with the dog as the narrator. But it quickly moves to a third person perspective (although the changes in intelligence the dog undergoes would make for a challenging first "person" perspective).

The conceit of the story is that by transplanting certain parts (such as the pituitary gland) from a (recently deceased) human into an animal, the animal could gain human form and intelligence. Of course, the newly-human dog behaves exactly the way one would expect (crudely), and sides with his benefactors enemies.

It's an easy read, would recommend.