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 Stars My Destination

One of the problems with older science fiction novels is how dated some of their assumptions about the future can be. In the big picture here, Bester misses feminism. In the smaller, he misses tattoo removal. Getting past those points, this is a fantastic classic novel that's been hailed as one of the forerunners of cyberpunk.

Bester's protagonist is Gully Foyle, who in one of the anticipations of the cyberpunk movement, is not a savory character. He's introduced as a mediocre worker, who after being stranded in space, decides to take revenge on the ship that failed to pick him up, rather than the crew of the ship. He has to have this explained to him by someone he meets in prison. He's also an unrepentant killer, a rapist, and a manipulative bastard. It's nice to have an antihero in a novel written in the 50s -- it would be too easy to have the protagonist be a big, bouncing Boy Scout, working to overthrow a corrupt system. But this isn't a corrupt system -- it's not a pleasant one, but it;s not a dystopia or a tyranny.

One of the conceits The Stars My Destination is that teleportation has been discovered, within limits -- it's not a technological breakthrough, but rather unlocking part of the human mind/subconscious to will oneself hundreds of miles (a theme similar to Bester's other classic novel, The Demolished Man, in which telepathy is unlocked in a like manner). However, although humanity has spread to outer space, teleportation is only possible on a planet, and only if the destination (and departure point) are well known to the individual. So the very rich keep themselves isolated in labyrinthine mansions, prisons are kept dark to prevent prisoners becoming familiar with the area, etc. Large corporations controlled by families have massive influence, and new social structure -- one man huffily insists "There are thousands of Presteigns. All are addressed as 'Mister'. But I am Presteign of Presteign, head of house and sept, first of the family, chieftain of the clan. I am addressed as 'Presteign'. Not 'Mister Presteign'. Presteign."

There is a lot to like about The Stars My Destination, but by far the worst part about it is the dialogue -- it's very clunky, and the characterization often isn't too much better. Some of this can be chalked up to not having the freedom to address sexual issues or themes the way later sci-fi writers would be able to, but the majority has to fall on Bester. Luckily, the novel is strong enough to be exemplary even with these flaws. Recommended without reservation.

Starlight

Alfred Bester's Starlight is a worthwhile science fiction short story collection. My only previous exposure to Bester's short fiction was the excellent "Fondly Fahrenheit", which is included here, and is a highlight. Like many retrospectives, there's extensive commentary by Bester, as he introduces each story. In the hands of other authors, this is occasionally tedious, but Bester sets the stage for each story well, and explains what he's doing.

As with many collections, Starlight is a bit uneven. There's gems like the aforementioned "Fondly Fahrenheit," and typical sci-fi fare like "Adam and No Eve" and "The Four Hour Fugue." "Of Time and Third Avenue" could very well be an Arthur C. Clarke story. Of course, there's clunkers as well, like "Hell is Forever", the longest story in the book, which inspires Bester to opine on himself at the time he wrote the story:

"I feel like a father to that kid, and I think he shows promise in 'Hell is Forever.' He makes mistakes, he's green and gauche, his knowledge and understanding of character is minimal, he has a lot to learn, but I think he ought to stay with it. He might become a pro some day."

Tough to argue with that, but "Hell is Forever" really drags. Luckily, most of the collection isn't Bester growing and developing, but is rather high caliber science fiction stories. I would recommend, but it's probably worth picking up The Demolished Man first. That said, it's easy to see how Bester became disillusioned with science fiction, and decided to move on during the 1960s. While the work here is something that any science fiction fan should be aware of, it's very much rooted in the 1940s and 1950s, and there's only so much that can be done there without tedious repetition. Bester had a hell of a career, and this is not a bad coda.

The Demolished Man

Alfred Bester's The Demolished Man is a classic of science fiction, and is also cited as one of the forerunners of the cyberpunk genre, due to the role corporate intrigue plays in the exposition, as well as one setting (a labyrinth of a brothel, built on a post-nuclear site). It's an engaging, entertaining novel, that holds true to many fifties-era sci-fi conventions. Whether that adds to its charm, or hurts suspension of disbelief is an exercise for the reader.

Despite the fact that the novel is set in the early 24th century, in a world where telepaths are commonplace, it's unmistakably a product of the fifties -- much of the dialogue has a "gee whiz" feel. So while this may be a forerunner or anticipator of cyberpunk, it's certainly not a cyberpunk novel -- both the pro- and antagonist are initially likable characters, and the plot is relatively straightforward.

Bester's treatment of the emergence of telepaths is slightly more imaginative than most sci-fi or fantasy -- he organizes them into levels (for whether they can read thoughts, or delve into the unconscious mind), and has them formed into a guild. Said guild is the center of life for the telepaths -- one who has been sanctioned by the guild is exiled, and no other telepath will communicate with them. This is maddening, and many go crazy with loneliness -- the analogy is made to deaf-mutes. (One thing that bothers me about novels in the future, that The Demolished Man is particularly guilty of, is that many analogies are made to the mid-late 20th century, but few, if any, are made to the intervening period between then and the present of the novel)

While The Demolished Man is not perfect, it's still one of the best science fiction novels produced in the 1950s. Bester is able to create a compelling, mostly believable world, and a hell of a detective story. Absolutely up there with anything by Arthur C. Clarke, and I'd prefer him to Heinlein or Asimov.