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Alpha Ralpha Boulevard by Cordwainer Smith

Posted on by Paul Fraser

Alpha Ralpha Boulevard by Cordwainer Smith (F&SF, June 1961) is one of the author’s “Instrumentality of Mankind” series, and takes place at a time1 when the Instrumentality has decided to dismantle, or at least partially dismantle, the stable society it has created:

We were drunk with happiness in those early years. Everybody was, especially the young people. These were the first years of the Rediscovery of Man, when the Instrumentality dug deep in the treasury, reconstructing the old cultures, the old languages and even the old troubles. The nightmare of perfection had taken our forefathers to the edge of suicide. Now under the leadership of the Lord Jestocost and the Lady Alice More, the ancient civilizations were rising like great land masses out of the sea of the past.

We knew that all of this was make-believe, and yet it was not. We knew that when the diseases had killed the statistically correct number of people, they would be turned off; when the accident rate rose too high, it would stop without our knowing why. We knew that over us all, the Instrumentality watched. We had confidence that the Lord Jestocost and the Lady Alice More would play with us as friends and not use us as victims of a game.

The story continues with the narrator Paul pairing up with the French-speaking Virginia, who, during their conversation, reveals that she has previously visited the Abba-dingo computer located half-way up the twelve-mile-high Earthport. As Paul quizzes her about the experience, they follow a ramp down into the underground, where he is unsettled by the homunculi and hominids that work there tending their society’s machines. In particular, a female d’person (dog person), gives him a provocative look. Shortly afterwards, a drunken bull-man charges at them, and they are only saved when a cat person called C’mell lures the bull-man away with a telepathic projection. C’Mell shows the couple to a stairway that leads to the surface. Virginia tells Paul that he will see C’Mell again and, when he asks how she knows this, Virginia tells him it is a good guess, but also mentions her visit to the Abba-dingo computer again.
The rest of the story sees the couple travelling to Abba-dingo, the journey beginning when they go to a café and meet a man called Maximilien Macht, who “can take them to God” (this offer is made after he overhears an upset Virginia protesting to Paul that she does not know how much of what she feels is genuine, and what is predestined by the Lords of the Instrumentality). Macht adds, after his offer, that the Abba-dingo said he would meet a brown-haired girl, and then Virginia says that her aunt heard also heard the couple’s names from the Abba-dingo some time ago.
Macht says they can get there by using Alpha Ralpha Boulevard, a processional street in the sky which leads to Earthport. When Paul asks the point of such a journey, Virginia tells him:

“If we don’t have a god, at least we have a machine. This is the only thing left on or off the world which the Instrumentality doesn’t understand. Maybe it tells the future. Maybe it’s an un-machine. It certainly comes from a different time. Can’t you see it, darling? If it says we’re us, we’re us.”
“And if it doesn’t?”
“Then we’re not.” Her face was sullen with grief.
“What do you mean?”
“If we’re not us,” she said, “we’re just toys, dolls, puppets that the lords have written on. You’re not you and I’m not me. But if the Abba-dingo, which knew the names Paul and Virginia twelve years before it happened—if the Abba-dingo says that we are us, I don’t care if it’s a predicting machine or a god or a devil or a what. I don’t care, but I’ll have the truth.”

There are (spoiler) various incidents on Alpha Ralpha Boulevard: Macht stands on some bird eggs and Paul hears a telepathic distress message from the parent (there has been lots of telepathic communication thus far)—and when Macht does not desist, Paul, prompted by the bird, strangles him till he falls unconscious. Later, the three of them get on a high-speed walkway at the side of the highway but, when they encounter a break in the bridge, Paul and Virginia make it over the gap while Macht falls onto the cables below.
They leave Macht behind and proceed to the Abba-dinga. When they get there it prints out a message for Virginia which says, “You will love Paul all your life”, and then, after Paul fights off a bird man attempting to stop him using the machine, he gets one which says, “You will love Virginia twenty-one more minutes.”
The pair set off back down the road as the weather deteriorates. Eventually, in the middle of a wild lightning storm, they reach the gap in the road: there, both Macht, who has been climbing up the cables, and Victoria fall to their death; Paul is saved by C’Mell, the cat woman from earlier in the story.
There are a lot of fascinating scenes and ideas in this story, as well as a lot of exotic background detail about the world of the Instrumentality, but ultimately this piece does not amount to much: the questions raised earlier about free will and predestination do not appear to be addressed.
Perhaps this is best read as an exotic and bizarre piece of future myth.
**+ (Average to Good). 11,250 words. Story link.

1. The timeline of the Instrumentality of Mankind is as follows:

The White Leopard by Michael Swanwick

Posted on by Paul Fraser

The White Leopard by Michael Swanwick (New Worlds, 2022) sees Ray, the war veteran protagonist, buy an old ground drone at a yard sale:

What it was, was an RQ-6G Leopard.
The 6G was, in Ray’s opinion, the finest patrol and reconnaissance ground drone ever made. He had qualified on it during Operation Bolivian Freedom, back when he was young. He had hunted down insurgents with one, working from a combat recliner in a secure base across the border in Argentina. He’d known what it felt like to be the most dangerous thing in the jungle at night. He had never experienced anything like that before.
He wanted to feel something like that again.  pp. 87-88

After repairing the Leopard, Ray hooks up to a VR set one night and sends the drone out into the forest. After chasing raccoons and the like for a while, he senses another Leopard in the forest. He contacts the operator, and finds out it is a woman called Helen: she challenges him to find her. When he does they explore the forest together.
Eventually, after a period getting to know each other, they arrange to meet in person at a restaurant. When they arrive, however, they are horrified by what they see across the room: Helen is older than Ray expected, and using a walker, and she is equally horrified by the old, pot-bellied and balding Ray. They both flee. Then, when Ray gets home to his wife Doris, an alcoholic shrew of a woman—but a smart one who has used her previous tech skills to work out what Ray has been doing—she guesses what has happened at the restaurant, and turns the knife, “She was old, wasn’t she? Old like you.”
Ray flees downstairs and straps on his VR set, and sees that Helen’s Leopard is perched on the limb of a nearby tree waiting for his drone—“That’s not who I am,” she says.
The rest of the story details (spoiler), in parallel with the Ray and Helen’s further excursions, Doris’s increasing bitterness about Ray’s extra-marital relationship: she eventually threatens to tell the police about his “terrorist weapon” unless he blows it up and then kills Helen with his own hands. Ray and Helen then conspire to kill Olive, and the story proceeds to an ending where Olive gets the drop on both of them (those tech skills again): she scares off Helen, and then wears a triumphant smile as the Leopard comes down into the basement for Ray. There is a good payoff line:

There was the strong, willful woman he had fallen in love with all those many long years ago.  p. 98

The beginning of this is pretty good in its depiction of old people wanting to recapture their youth, but the back end is more a series of plot manoeuvres, and there is perhaps a little too much going on in that part of the story. Still, not a bad piece.
*** (Good). 3,900 words.

Or All the Seas with Oysters by Avram Davidson

Posted on by Paul Fraser

Or All the Seas with Oysters by Avram Davidson (Galaxy May 1958) opens with a Mr Whatney visiting a bicycle shop run by Oscar. Mr Whatney asks where Ferd (the other owner) is, and Oscar tells Whatney he is now on his own. The story of why begins with a habit of Oscar’s that irritated Ferd:

The shop was located near the park; it did a big trade in renting bicycles to picnickers. If a woman was barely old enough to be called a woman and not quite old enough to be called an old woman, or if she was anywhere in between, and if she was alone, Oscar would ask, “How does that machine feel to you? All right?”
“Why . . . I guess so.”
Taking another bicycle, Oscar would say, “Well, I’ll just ride along a little bit with you, to make sure. Be right back, Ferd.” Ferd always nodded gloomily.
He knew that Oscar would not be right back. Later, Oscar would say, “Hope you made out in the shop as good as I did in the park.”
“Leaving me all alone here all that time,” Ferd grumbled.

The rest of the story sees various other elements introduced, beginning with a couple with a baby visiting the shop in need of a replacement safety pin for the child’s nappy. Neither Oscar nor Ferd can find one in the shop, but later on Ferd finds a drawer full. Ferd wonders why this kind of thing happens, along with other phenomena like wardrobes suddenly filling up with coat hangers.
Running in parallel with these events is Ferd’s restoration of a red French racing bike, which he angrily smashes up after Oscar takes it to chase a female cyclist. When the bike later regenerates itself (and draws blood when Ferd tries to ride it) it leads him to speculate that there may be mimetic life on Earth:

“Maybe they’re a different kind of life form. Maybe they get their nourishment out of the elements in the air. You know what safety pins are— these other kinds of them? Oscar, the safety pins are the pupa forms and then they, like, hatch. Into the larval forms. Which look just like coat hangers. They feel like them, even, but they’re not. Oscar, they’re not, not really, not really, not . . .”

The story closes (spoiler) with Oscar telling Whatney he is now in a relationship with Norma (the female cyclist), breeding American and French racing bikes, and that Ferd “had been found in his own closet with an unraveled coat hanger coiled tightly around his neck.”
This is an enjoyable and amusing read but the ending didn’t work for me, probably because I thought that the safety pin/coat hanger lifecycle would extend to the bikes (maybe it did and I just missed it) and (b) I didn’t really get why the coat hangers would kill Ferd (unless, again, they are the previous life stage of the bikes).
I assume this story mostly got a Hugo Award for its quirk (the observational humour about safety pins and coat hangers) and its (for the time) perhaps risqué suggestion that Oscar is having sex with a succession of young women in the woods.
** (Average). 3,650 words. Story link.

Winter’s King by Ursula K. Le Guin

Posted on by Paul Fraser

Winter’s King by Ursula K. Le Guin (Orbit #5, 1969)1 gets off to an unclear and confusing start with the androgynous “King” Argaven of Karhide (referred to as “she” rather than “they” for some mysterious reason2) apparently having a breakdown or delusional episode. Argaven repeatedly says to the surrounding figures, “I must abdicate.”
It is only much later in the story (for those that are lucky; myself, I had to go back a reread it after finishing the piece) that it becomes apparent that Argaven has been kidnapped and is being mindwashed.3
The story then cuts to the point where it should probably have started, with a harbour guard challenging a drunk figure and, after administering half second of stun gun, inspecting the body:

Both the arms, sprawled out limp and meek on the cold cobbles, were blotched with injection marks. Not drunk; drugged. Pepenerer sniffed, but got no resinous scent of orgrevy. She had been drugged, then; thieves, or a ritual clan-revenge. Thieves would not have left the gold ring on the forefinger, a massive thing, carved, almost as wide as the finger joint. Pepenerer crouched forward to look at it. Then she turned her head and looked at the beaten, blank face in profile against the paving stones, hard lit by the glare of the street lamps. She took a new quarter-crown piece out of her pouch and looked at the left profile stamped on the bright tin, then back at the right profile stamped in light and shadow and cold stone.

Argaven wakes up in the palace (the real one this time), and starts a period of recovery. During this it becomes apparent that, due to the limitations of Karhidian technology, no-one local can determine what changes the mindwashers have wrought, or what they have programmed Argaven to do. Argaven abdicates, and arranges with Mr Mobile Axt, the Ekumen ambassador on Gethen, passage off-planet in one of the their near-lightspeed spaceships. Argaven later visits their firstborn, and leaves the royal chain in the baby’s crib before departing.
The second act of the story sees Argaven travel to Ollul (Earth), a trip that only seems to last a day but, because of the relativistic effect of travelling at near-lightspeed, has her land on Earth twenty-four years later. On arrival Argaven is given a summary of events in Karhide (the regency of Lord Gerer was “uneventful and benign”) before commencing treatment for the mindwashing episode. The doctors discover that Argaven’s mind was changed to make them become, over time, a paranoid tyrant. After the treatment is completed, Argaven subsequently decides to attend Ekumenical School on Earth (“She learned that single-sexed people, whom she tried hard not to think of as perverts, tried hard not to think of her as a pervert”).
As the years pass, the Ekumen train the ex-King to be of use to them in the future, and this time comes (spoiler) when the current King of Karhide (Argaven’s child) terrorizes and fragments the country. This eventually sees Argaven return to Karhide sixty years after their original departure—but only a twelve years older—and, on arrival, meet children who are now older than them.
After learning of the country’s further deterioration over the last twenty four years, and the revolt of some Karhiders, Aragaven leads a rebellion, and the story finishes with the ex-King standing over the body of their child, who has committed suicide.
This story has a poor start, good middle, and perfunctory ending (the idea of a parent standing over a child who is chronologically older than them is a good one—but there is no development or confrontation, just the image). I’m not sure that this piece is much more than an intermittently well-written gimmick story.
** (Average). 8,000 words.
 
1. I read a revised version of this—apparently there are differences between the original Orbit version and those in subsequent publications (or perhaps just post the author’s collection, The Wind’s Twelve Quarters). Rich Horton has written an article about the differences at Black Gate.
 
2. This piece is a “Hainish” story, and one set on Gethen, the same planet that featured in her Hugo and Nebula Award winning novel The Left Hand of Darkness. In that work the Gethians were referred to as “he”. There is more about the pronoun switch at Wikipedia.

3. Apart from the cloudiness of the first two pages, I couldn’t work out if the palace scene that follows (after the guard discovers Argaven’s body) was a continuation, or not (not, as I concluded later).
I would also suggest this is a terrible first paragraph:

When whirlpools appear in the onward run of time and history seems to swirl around a snag, as in the curious matter of the succession of Karhide, then pictures come in handy: snapshots, which may be taken up and matched to compare the parent to the child, the young king to the old, and which may also be rearranged and shuffled till the years run straight. For despite the tricks played by instantaneous interstellar communication and just-sublightspeed interstellar travel, time (as the Plenipotentiary Axt remarked) does not reverse itself; nor is death mocked.

I’m not sure starting with whirlpools and moving smartly on to snapshots is a winning opening sentence. Then we get a data dump about radios and spaceships. And who is Plenipotentary Axt? (He turns up pages later, by which time I had long forgotten his name.)
Winner of the 1969 Random Musing Award.

Wants Pawn Term by Rich Larson

Posted on by Paul Fraser

Wants Pawn Term by Rich Larson (Clarkesworld #188, May 2022) gets off to a flashy start:

Red’s body is asleep in the protoplasmic muck, dreamless, when Mother’s cable wriggles down under the surface to find her. It pushes through the membrane of her neural stoma and pipes a cold tingling slurry inside. A sliver of Mother becomes Red, and Red

wakes

up!

Later:

Her body is different than it was yesterday morning. Mother has replaced her heavy skeleton with honeycombed cartilage, pared her muscle mass, stripped her blubber deposits. Her carmine hide has hardened to a UV-repellent carapace. Fresh nerve sockets along her spine are aching for input.
Will I be flying? Will I be fuck fuck fucking flying? I will, won’t I?

Mother has woken Red to retrieve a “sleepyhead” that is falling from orbit. As she sets off on her mission we see that Mother is a spaceship that was torn in two during the Big Crash (there is a smaller, simpler version of herself called Grandmother in the other, smaller, section).
As Red flies over the alien terrain she thinks of a threatening creature called Wolf and (spoiler), when she gets to the pod containing the sleepyhead, sees him on top of it. She dives down to attack him but is shredded when she flies into a nanotube filament web.
The second part of the story sees Wolf connect the shell containing Red’s brain into his body. They start communicating, and we learn that there are forty three sleepyheads (humans) in orbit, and that seven died earlier on the planet. As Mother doesn’t have access to her drone factories (they were destroyed in the crash), she used the bodies of the dead humans in the construction of cyborgs like Wolf (who subsequently went rogue) and then Red.
Wolf subsequently opens the pod and wakes the Sleepyhead/human, who screams at the sight of him. Wolf/Red then conclude, after the sleepyhead’s response, that the humans will never accept them (the implication is that Wolf then kills the human).
Later, they see a new version of Red on the surface of the planet, heading towards Grandmother. Red/Wolf decide to take a shortcut there to infect the smaller part of the ship with rogue code. This will be passed on to the new Red, and then to Mother, who will then kill the remaining sleepyheads, refashioning them into cyborgs like Red and Wolf.
This is, for the greater part, a vividly told story of a colonisation spaceship gone badly wrong—but the back end is mostly an explanation of the situation, and a sketch of an unconvincing ending. I also wasn’t entirely convinced that the humans would not tolerate the cyborgs. Finally, it is a piece that would have worked better at longer length, and with a more organic development. I’d also mention that the Little Red Riding Hood references—including the “Once Upon a Time” title, feel more like a gimmick than a good a fit for the tale.
*** (Good). 2,600 words. Story link.

Tea Parties Around Nebula-55 by Adriana C. Grigore

Posted on by Paul Fraser

Tea Parties Around Nebula-55 by Adriana C. Grigore (Clarkesworld #188, May 2022) opens with what appears to be children making mud pies, growing a tree, and cooking various dishes on a damaged spaceship. During this latter activity the ship warns them that it needs to shut down the recreation wing as it cannot keep that area functional. They go and scavenge the area before that happens.
After this excursion they finish their cooking, and it becomes apparent that they are humanoid robots. One of them, Remi, has no sense of taste.
There isn’t much of a story here, and it’s mostly just robots pottering about. It rather reads like a short extract from a YA novel.
* (Mediocre). 2,700 words. Story link.

Rescue Party by Arthur C. Clarke

Posted on by Paul Fraser

Rescue Party by Arthur C. Clarke (Astounding, May 1946) opens with an alien spaceship commander telling the crew of the S9000 that they are about to arrive at the third planet of the solar system ahead—and that they only have four hours to explore before its sun goes nova! We then find out why the aliens have so little time:

“You will wonder how such a disaster, the greatest of which we have any record, has been allowed to occur. On one point I can reassure you. The fault does not lie with the survey.
“As you know, with our present fleet of under twelve thousand ships, it is possible to re-examine each of the eight thousand million solar systems in the galaxy at intervals of about a million years. Most worlds change very little in so short a time as that.
“Less than four hundred thousand years ago, the survey ship S5060 examined the planets of the system we are approaching. It found intelligence on none of them, though the third planet was teeming with animal life and two other worlds had once been inhabited. The usual report was submitted and the system is due for its next examination in six hundred thousand years.
“It now appears that in the incredibly short period since the last survey, intelligent life has appeared in the system [and a] civilization that can generate electromagnetic waves and all that that implies [has existed for two hundred years].”

“As you know, Bob, [insert explanium or handwavium here].”
When the S9000 arrives in Earth’s atmosphere two hours later they find they are too late: there are no signs of life, and the wildfires that have raged across the planet are dying out (they have run out of fuel).
Two scout ships are dispatched to explore the planet anyway. The first finds a set of mirrors that appear to be transmitting TV signals out into the galaxy; then they find a deserted city, apparently abandoned by humans years earlier when they returned to the live in the countryside. On return to the S9000, the crew find that the other scout ship has not returned.
The second ship, meantime, has found a huge administrative centre (jam packed with filing cabinets full of computer punch cards!) Then, when they leave to return to the S9000, they spot a huge tunnel opening and quickly decide to explore it—only to find themselves trapped by closing subway doors, and whisked off in a train that eventually takes them under the ocean.
The third act of the story sees the S9000 follow the train and rescue the scout ship crew at the next station. As they get them back on board, the sun goes nova (the ship is hiding in the lee of the Earth and the aliens see the Moon light up). The S9000 accelerates towards light speed as they leave the system.
There is final section to the story which sees the aliens realise that the mirrors are sending video signals of the catastrophe in a particular direction. When the S9000 follows they eventually see a “great fleet” of human generation ships ahead.
The last paragraphs see one of the aliens say they feel rather afraid of the humans’ fleet, and another reply that they are a “very determined people”, and that they had better be polite to them as “we only outnumber them about a thousand million to one”.
I liked this well enough, but it’s basically an overlong story (the two scout ship accounts have needless overlap and duplication) about aliens wandering about on a depopulated Earth and getting themselves into trouble. The strongest parts are probably the astronomical setup (the nova, the ship hiding in the Earth’s shadow), the dying Earth descriptions, and the slingshot ending where they find the generation ships (although not the last line, “Twenty years afterward, the remark didn’t seem funny”, which seemed a rather dissonant and threatening expression of human exceptionalism).
*** (Good). 10,300 words. Story link.

AirBody by Sameem Siddiqui

Posted on by Paul Fraser

AirBody by Sameem Siddiqui (Clarkesworld, April 2020)1 opens with a young man preparing for an “AirBody” job from a “Desi aunty” the next day (the client, a fifty-nine-year-old woman from Karachi called Meena, will use his body for a short period of time—like Airbnb, but using the person’s body rather than their house).
After this promising start the story pretty much goes into reverse: when Meena takes possession of his body the next morning he watches her (he is still mentally present for safety and facilitation reasons) cook dal and answers any questions she has—when he is not contending with her snarky comments about the cleanliness of his kitchen. We also get a chunk of backstory about his own family and a failed relationship with a woman called Karla.
The second part of the story (spoiler) sees him drive Meena to a house where she attempts to give another women the pot of dal: she has the door slammed in her face. Later, the woman turns up at his flat—and then she and Meena make love (apparently they used to be lovers). This scene—where the woman makes love to Meena while she inhabits someone else’s body—did not convince (and that is before you consider that the AirBody is of a different sex, and its owner could be watching you in action).
This is pretty much a mainstream story about cooking and relationships (not my favourite themes) which has some SF furniture in it. The ramifications of the technology are barely hinted at beyond the convenience of not having to travel.
* (Mediocre). 4,950 words. Story link.

1. This was the winner of the Clarkesworld Readers’ Poll for 2021.

Shape by Robert Sheckley

Posted on by Paul Fraser

Shape by Robert Sheckley (first published as Keep Your Shape, Galaxy, November 19531) sees a spaceship of shape-shifting Glom arrive in Earth orbit; they are on a mission to place a displacer in one of Earth’s atomic reactors to open up a wormhole for an invasion. Previous expeditions have failed.
Before they descend to the surface, the commander of the ship, Pid, addresses his crewmates Ger and Ilg:

“A lot of hopes are resting on this expedition,” he began slowly. “We’re a long way from home now.”
Ger the detector nodded. Ilg the radioman flowed out of his prescribed shape and molded himself comfortably to a wall.
“However,” Pid said sternly, “distance is no excuse for promiscuous shapelessness.”
Ilg flowed hastily back into proper radioman’s shape.
“Exotic shapes will undoubtedly be called for,” Pid went on. “And for that we have a special dispensation. But remember—any shape not assumed strictly in the line of duty is a device of The Shapeless One!”
Ger’s body surfaces abruptly stopped flowing.

This sets up the story’s conflict, which is that, although the aliens on Glom can assume any shape they want, there are strict caste rules which determine those they are allowed to adopt in society—and Pid has learned before his departure that his two crewmates may not be reliable in this respect:

“Ger, your detector, is suspected of harboring alterationist tendencies. He was once fined for assuming a quasi-hunter shape. Ilg has never had any definite charge brought against him. But I hear that he remains immobile for suspiciously long periods of time. Possibly, he fancies himself a thinker.”
“But sir,” Pid protested, “if they are even slightly tainted with alterationism or shapelessness, why send them on this expedition?”
The chief hesitated before answering. “There are plenty of Glom I could trust,” he said slowly. “But those two have certain qualities of resourcefulness and imagination that will be needed on this expedition.” He sighed. “I really don’t understand why those qualities are usually linked with shapelessness.”

After the three of them land on Earth they dissolve the ship (spoiler), and it isn’t long (there are some episodes that play out beside the reactor) before Ilg and Ger disappear. Pid later discovers that Ilg has become a tree and a thinker, and Ger a dog and hunter. Worse, Pid learns that another dog Ger was chasing earlier is a member of a previous Glom expedition.
The final section sees Pid eventually manage to get inside the reactor building, where the alarm is raised and he is pursued by guards. Then, plagued by thoughts about freedom of shape, and just as he is almost able to activate the displacer, he looks out a nearby window:

It was really true! He hadn’t fully understood what Ger had meant when he said that there were species on this planet to satisfy every need. Every need! Even his!
Here he could satisfy a longing of the pilot caste that went even deeper than piloting.
He looked again, then smashed the displacer to the floor. The door burst open, and in the same instant he flung himself through the window.
The men raced to the window and stared out. But they were unable to understand what they saw.
There was only a great white bird out there, flapping awkwardly but with increasing strength, trying to overtake a flight of birds in the distance.

This is a great finish to a good story, and puts this on my list of Sheckley’s best stories (Specialist, Pilgrimage to Earth, etc.).
One of the things that particularly struck me about this piece was how concisely and clearly written it is and, although there is a message here about social conformity, we aren’t continually bludgeoned with it (I shudder to think what a modern day, MFA’d version of this story would look like).
**** (Very Good). 4,550 words. Story links (see footnote 1).

1. The version of the story I read was in The Arbor House Book of Modern Science Fiction, but the original version in Galaxy magazine (as Keep Your Shape) is longer (5,900 words) and has a completely different ending (and one that makes it a much weaker and more pedestrian story).
In the latter version (the story changes from “He studied himself for a moment, bared his teeth at Ger, and loped toward the gate.” on p. 16 of Galaxy, section break bottom right/p. 67 of the Arbor House anthology) Pid first turns into a dog, and then a man, but can’t stand either shape, so eventually changes into a sparrow. As Pid flies towards the reactor building he is attacked by a hawk and, after slipping through its grasp, changes into a bigger hawk and scares it away. Then Pid drops the displacer and flies after the attacking hawk to find how it hovered in the air.
Theodore Sturgeon used to say something along the lines of, “Horace Gold could turn an average story into a good story, and an excellent story into a good story”. One wonders if this is an example.
Story link (Shape, Arbor House, recommended version).
Story link (Keep Your Shape, Galaxy).

Tell-Tale Tit by Margo Lanagan

Posted on by Paul Fraser

Tell-Tale Tit by Margo Lanagan (New Worlds, 2022) is a short piece that begins with all of England’s dogs being brought together to feed on the tongues that have been cut from the mouths of “tattles” (“women, mostly, because telling tales has always been a woman’s offence”):

There is always some gentleman complaining in the parliament of the cost of this waiting, this gathering, this holding. Would it not be more efficient, he wonders, to take in smaller batches of tattles and of dogs, closer to the conviction dates, hard upon each assizes, and closer also to the district where the judgements are passed?
Whereupon other good sirs leap up to correct him: It is a national scourge, this betrayal, this calumny, and should be dealt with in a nationalised manner. The horror is not for the fact that a dog, any local dog, should have a taste of you, but that every dog in England shall have his little bit. A convicted tattle should never know whether any dog she meets thereafter contains a particle of herself. She has become dog, and that knowledge is brought home to her, not only by her silence but also by the sight of any representative of the creatures from wolfhound to lady’s lap dog, forever after.  p. 115

The rest is not much more than a (grisly) description of how offenders’ tongues are surgically removed in the Cutting Hall, ground up, and then fed to the massed pack of dogs in the Distribution Hall (the narrator’s job is to ladle out the minced tongue meat to the animals). While the dogs eat, the punished and the public watch on.
There is no story here, just a descriptive account of a bizarre practice—but it is a striking and immersive piece for all that.
*** (Good). 2,750 words.