Tag: 1*

What the Left Hand Was Doing by Randall Garrett

What the Left Hand Was Doing by Randall Garrett (Astounding, February 1960) begins with the protagonist, Spencer Candron, arriving at The Society for Mystical and Metaphysical Research, Inc., a front for a group of psi (mind-power) capable individuals. Once we eventually get beyond the over-padded beginning (which includes a description of the building, of Candron, and of the secretary and her role in keeping away the crazies) he finally receives a leisurely briefing about the Red Chinese abduction of a famous US physicist called Ch’ien at an international conference in their country (his abductors have attempted to cover this up by murdering a double). Candron is told to rescue Ch’ien before the Chinese uncover his interstellar drive secrets.
The story picks up pace when Candron flies over Chinese territory and arranges to have an aircraft door to fall off during the flight. He then jumps out:

Without a parachute, he had flung himself from the plane toward the earth below, and his only thought was his loathing, his repugnance, for that too, too solid ground beneath.
He didn’t hate it. That would be deadly, for hate implies as much attraction as love—the attraction of destruction. Fear, too, was out of the question; there must be no such relationship as that between the threatened and the threatener. Only loathing could save him. The earth beneath was utterly repulsive to him.
And he slowed.
His mind would not accept contact with the ground, and his body was forced to follow suit. He slowed.
Minutes later, he was drifting fifty feet above the surface, his altitude held steady by the emotional force of his mind. Not until then did he release the big suitcase he had been holding. He heard it thump as it hit, breaking open and scattering clothing around it.
In the distance, he could hear the faint moan of a siren. The Chinese radar had picked up two falling objects. And they would find two: one door and one suitcase, both of which could be accounted for by the “accident.” They would know that no parachute had opened; hence, if they found no body, they would be certain that no human being could have dropped from the plane.  p. 183 (The Year’s Best SF #5, edited by Judith Merril, 1961)

Not bad, and the next part of the story—where he establishes himself in a hotel room in the city—is interesting too. However, the piece falters when Candron later goes to the Security HQ in the middle of the city and makes full use of his psi powers: he holds onto the underside of a car with his fingertips as it goes through the checkpoint; levitates up an elevator shaft; impersonates a Chinese general in a phone call to the cell guards to organise his visit; and then goes down to see Ch’ien. This is all too easily done, as is his rescue of the physicist, which (spoiler) sees him knock the scientist unconscious with an uppercut, set off a smoke bomb, and then teleport them both back to his room in the city. There, he carries Ch’ien to the roof of the hotel, and levitates himself and the physicist out to sea where they eventually meet a submarine (this latter event happens when he’s getting a bit tired, something we find out after a two page lecture about the limits of the human mind and psionic abilities).
The last couple of pages of the story have a Senator and a couple of other men debrief Candron at the institute, and one of the questions they ask him is why he kept knocking the physicist unconscious throughout the flight to the sub. Candron replies with some typical Campbellian blather about psionics:

“It would ruin him,” Candron broke in, before the senator could speak. “If he saw, beyond any shadow of a doubt, that levitation and teleportation were possible, he would have accepted his own senses as usable data on definite phenomena. But, limited as he is by his scientific outlook, he would have tried to evolve a scientific theory to explain what he saw. What else could a scientist do?”
Senator Kerotski nodded, and his nod said, “I see. He would have diverted his attention from the field of the interstellar drive to the field of psionics. And he would have wasted years trying to explain an inherently nonlogical area of knowledge by logical means.”
“That’s right,” Candron said. “We would have set him off on a wild goose chase, trying to solve the problems of psionics by the scientific, the logical method. We would have presented him with an unsolvable problem.”
Taggert patted his knees. “We would have given him a problem that he could not solve with the methodology at hand. It would be as though we had proved to an ancient Greek philosopher that the cube could be doubled, and then allowed him to waste his life trying to do it with a straightedge and compass.”
“We know Ch’ien’s psychological pattern,” Candron continued. “He’s not capable of admitting that there is any other thought pattern than the logical. He would try to solve the problems of psionics by logical methods, and would waste the rest of his life trying to do the impossible.”  pp. 202-203 (The Year’s Best SF #5, edited by Judith Merril, 1961)

I think this sort of thing is what was meant by “pushing Campbell’s buttons” (i.e. pandering to the editor of Astounding magazine, John W. Campbell, and his sometimes whacky ideas).
I eventually lost patience with this story as I’m not a fan of work that (a) uses lazy SF ideas and terminology (“psi”) or (b) is obviously padded with word-rate generating material (e.g. endless description and lectures). But most of all I don’t like (c) stories (and movies—I’m looking at you Wonder Woman) where the superhero protagonists can seemingly do anything they want and are never in any sort of jeopardy.
If none of this applies to you, this may be an entertaining enough piece as it’s readable enough.
* (Mediocre). 10,900 words. Story link.

Make a Prison by Lawrence Block

Make a Prison by Lawrence Block (Science Fiction Stories, January 1959) gets off to a pretty good start with two Alteans discussing a prisoner—the murderer of three of their kind, the first such crime in thirty generations—who is about to be imprisoned in a tall tower. They talk about the security precautions (the curved, unclimbable walls, the pneumatic delivery tubes, etc.) and then watch as the shackled prisoner is sent up to the accommodation at the top.
Several minutes later the prisoner throws his shackles down (the key was at the top of the tower), and then (spoiler) he climbs the rail and flies away.
This latter event broke the story for me as there is no build up to this surprising event—it just happens. I presume the twist might work for those who were assuming that the prisoner is a human.
* (Mediocre). 1,000 words. Story link.

The Sword Against the Stars by A. F. Hall

The Sword Against the Stars by A. F. Hall1 (New Worlds #159, February 1966) begins pretty much as it goes on:

Dated the 42nd year of our exile
The earth this year is death and stinking rubble, a pall of broken glass and rusted, empty cans. The earth this year is a thousand blasted cities, bleak and broken skylines, skeletons of buildings connected with crazy paving. There are some parts of our city which still burn with sporadic fires; a water main bursts and somewhere a stray dog howls. The earth this year is scarred and seared to wasteland, a planetary ghetto where all that’s left is dying, crawling to its slow, inevitable ending. The earth this year is sick of a million plagues, gaunt famines and a mad child’s crying.  p. 101

This initially appears to be a post-nuclear holocaust tale but we later discover that the devastation is the result of an alien invasion. The rest of the story is mostly description, and there is very little incident: a “dust priest” turns up at the narrator’s settlement; the group go scavenging in a city; the narrator finds a sword (which prompts much speculation about why there are red jewels in the handle):

The seven rubies must represent the stars—but why are the stars red? The sun is made of gold and the moon is silver but the stars glow with an angry light. When I was very young I used to think that the stars were white diamonds scattered on black velvet, I would have made the stars out of diamonds if the sword had been mine. It was only the forger of the sword who knew better, he must have known that the stars were hostile and he set seven red stones in his sword, red for the colour of war. He chose red stones so that those who came after him should remember when they saw his warning—but we who came after, we forgot. How did he know?  p. 109

Although the description is well enough done, there is far too much of it: this makes for a dull piece.
* (Mediocre). 4,200 words.

1. This is Hall’s only SF story, according to ISFDB.

Temporary Resident by Philip E. High

Temporary Resident by Philip E. High (New Worlds #159, February 1966) opens with a Terran representative called Savaran almost rammed by another car on a planet called Spheriol. Savaran continues his journey but, further down the road, he sees his own car being towed—it appears to have side impact damage. Matters become even odder when he arrives at his Embassy to find it staffed by people he doesn’t know. The next morning he wakes up to see a doctor standing by his bedside who explains that he is in “transition”, and is on another “plane of existence”.
Later he meets people from his life who he thought were long dead, and discusses Terran defence plans with one of them. At this point (spoiler) the story cuts to a Spheriol minister talking to a man called Detrick, who is explaining that Savaran’s experience is all a ruse (he is at a false location which is staffed with actors) set up to let them defeat the anti-interrogation brain psychographing he has undergone.
The final twist, which has Savaran turning up at the building where the Minister and Detrick are holding their meeting, sees Savarand fade out of existence after he arrives there. The Minister then reveals to Detrick that he is the one experiencing a plane of existence shift, but a real one, and not a pretence like Savaran. Or something like that—it’s one of those stories whose endings can lose you.
This doesn’t convince, and it’s essentially the same old Terran spy nonsense that had been appearing in the magazines for decades already. And a Phil Dick-ian twist at the end doesn’t improve it much.
* (Mediocre). 5,250 words.

Hi, Sancho! by Paul Jents

Hi, Sancho! by Paul Jents (New Worlds #159, February 1966) starts with a fugitive in the future making a perilous crossing of one road (with high-speed traffic) to get to another, northbound, one that will take him to the city. After he manages to hitch a lift he ends up at an old flame’s house and, after a night with her, later ends up with a black man who wants to stage a bombing. Worried about the loss of innocent life, the fugitive hides the explosives and calls security.
The story then cuts to the fugitive’s interrogation, which involves a data dump about camps in Africa and a forced eugenics program. He escapes again, and takes the explosive back to the institution where he was being imprisoned. In the closing passage there is some reference to Don Quixote that I didn’t get (and the character thus named refers to the fugitive as Sancho).
This is fast-paced, readable stuff, but it seems little more than a series of random episodes linked together.
* (Mediocre). 4,650 words.

The Dreamsman by Gordon R. Dickson

The Dreamsman by Gordon R. Dickson (Star Science Fiction #6, 1959) begins with a Mr Willer shaving, until:

[He] poises the razor for its first stroke—and instantly freezes in position. For a second he stands immobile. Then his false teeth clack once and he starts to pivot slowly toward the northwest, razor still in hand, quivering like a directional antenna seeking its exact target. This is as it should be. Mr. Willer, wrinkles, false teeth and all, is a directional antenna.  p. 78 (The Year’s Best SF #5, edited by Judith Merril, 1961)

Shortly afterwards, Willer goes to a house and confronts the couple who live there, stating that they are telepaths who are transmitting. After he manages to win their confidence (admitting in the process that he is almost two hundred years old) he tells the couple that he can take them to a colony of similarly talented people. They then drive to a military base and, after Willer has hypnotised his way past the soldiers and guards, reach a spaceship that will supposedly take the couple to Venus.
At this point (spoiler) a man dressed in silver mesh arrives and reveals that Willer routinely disposes of psi-capable people so Earth people won’t evolve and be admitted into Galactic Society (of which the silver-mesh man is a representative). The reason? Mr Willer likes things the way they are.
An unconvincing squib that is a collection of worn out clichés.
* (Mediocre). 2,850 words.

The Handler by Damon Knight

The Handler by Damon Knight (Rogue, August 1960) sees a TV actor called Pete go into a bar and glad-hand all the people who have just finished work on a successful TV show, ending with these individuals:

“Sol and Ernie and Mack, my writers, Shakespeare should have been so lucky—” One by one, they came up to shake the big man’s hand as he called their names; the women kissed him and cried. “My stand-in,” the big man was calling out, and “my caddy,” and “now,” he said, as the room quieted a little, people flushed and sore-throated with enthusiasm, “I want you to meet my handler.”  p. 11 (The Year’s Best SF #5, edited by Judith Merril, 1961)

At this point Pete becomes motionless, and a dwarf—his “handler”—climbs out of Pete’s body. The party cools, and everyone drifts away. The dwarf is called Fred and he tries to chat to people but is either ignored or rebuffed (as well as his physical appearance he is nowhere as extrovert a personality as Pete). Then, while Fred is having a beer and trying to be friendly, one of the writers bluntly suggests that he gets back inside Pete. When Fred does this Pete comes to life, and the party restarts.
After his initial appearance Fred is variously described as “little man”; “was a very small man, almost a dwarf, stoop-shouldered and roundbacked in a sweaty brown singlet and shorts”; “had a perspiring brown face under a shock of black hair”; “was about forty, with a big nose and big soft brown eyes”; “his voice was cracked and uncertain”. Fred also has “knobby hands”; “sad hound-dog eyes”, etc. If Knight was trying to make the wider point that people react to our outer selves rather than our inner ones, he rather buries this idea under a mass of description that appears to make the piece about little more than people’s reaction to other’s physical attractiveness (and possibly manner).
The whole idea struck me a bit silly.
* (Mediocre). 1,600 words.

Mayor for Today by Fran Wilde

Mayor for Today by Fran Wilde1 (Asimov’s SF, January/February 2021) begins with its narrator, Victor, being offered the job of Mayor of Danzhai in China, but only for one day. His GigTime app tells him that the job is well paid and includes travel and accommodation so, as Victor needs the money, he accepts.
After half a dozen pages of setup (we learn a lot about the future gig economy and Victor’s financial and life circumstances) he finally arrives in Danzhai and joins a queue at the municipal office to sign on for the job, only to find a massive queue of mayors-for-a-day. It then materialises that one of the previous mayors has refused to quit and, as the other mayors subsequently can’t sign on and complete their jobs, the GigTime app won’t give them their tickets and visas to fly home. So they are all stranded in Danzhai. Then, after his second night there, Victor ends up in the same situation when he loses his room at the hotel and has to share with a group of the other mayors.
The remainder of the story shows us the economic and social ecosystem that has evolved around the hundreds of stranded mayors, and there are also a few set pieces as well: drone footage of their plight appears on the news, Victor meets the incumbent Mayor and discovers he is an alien, and so on. Eventually (spoiler) Victor and the others manage to trick the alien Mayor into planting a tree, which completes his job and also that of all the others.
There is the seed of a half-decent story here but this takes far too long to get going (Ron Goulart would have got to the queue of mayors in about 800 words, not six pages), and making the trouble-making mayor an alien is over-egging the pudding. It also has an overlong and weak ending. I struggled to finish this, which is not surprising given that it is a 6,000 word story crammed into 10,000.
I’d also add that this latter aspect of the story seems fairly typical of the current generation of writers, who seem incapable of writing concisely or pacing a story, and who think that endless prattle about the character’s job or personal concerns will be of obvious interest to readers. Personally, I’m not interested in thinly veiled descriptions of the writer or their friends’ problems with the gig time economy, student loans, housing or other family and domestic trivia. When did SF become about this?
* (Mediocre). 9,900 words.

1. There is this under the title of the story: “The author acknowledges the support of the Future Affairs Administration, Danzhai SF Camp, and Wanda Group.” Do we really need mini-Oscar acceptance speeches at the start of stories?

Shy Sarah and the Draft Pick Lottery by Ted Kosmatka

Shy Sarah and the Draft Pick Lottery by Ted Kosmatka (Asimov’s SF, January-February 2021) starts off with a woman called Sarah arranging an encounter with a fan called Ames at a baseball match. She sits in the seat next to him after a supposed ticket mix-up (his girlfriend has been delayed by the rest of her team) and, after a certain amount of pretence and social chit-chat, she eventually introduces the idea of sabermetrics (statistical analysis of baseball results), and also that teams want particular fans—superfans—because they positively influence the outcome of their matches.
After this we see Sarah with her bosses, who quiz her about the suitability of Ames as a “candidate” and, later on, she arranges to bump into him. They go for a walk, and she tells him about her job:

“It works like this,” I say. “Most people are normal, but one out of a hundred is different. They have some kind of talent that’s hard to explain. For me it started in childhood—crippling shyness, the obligate side effect. I was sent to see specialists.
My parents thought it was therapy, but the specialists had their own ideas. In reality, they were conducting a search.”
“Search for what?”
“For children like me. Who could help them with people like you.” I glance at him.
“The real prospects.”
“So you’re saying I’m one of these prospects?”
“That you are. A certified, top-tier, can’t-miss prospect, and no going back now. But don’t blame me; it was the spreadsheet cowboys who found you. I just gave the final nod.”
The Walk sign flashes and we cross the intersection.
“Found me how?”  p. 130

She goes on to tell him more about the world of “shies,” “ply-mouths,” “daykeeps” and “latents.” And of “prospects,” fans like him whose luck rubs off on the teams.
The rest of the story shows us a draft meeting where Ames is discussed by various corporate types and sold to a team in Texas (all of this without his attendance or knowledge). We also see Sarah telling Ames of a much wider conspiracy that involves the drafting of people into various other jobs (valets, blackjack dealers, cashiers, Uber drivers, etc.), which may be in locations they do not want to live (there is also a crack about only untalented people being allowed to become bankers and lawyers). She finally advises him that when he gets an upcoming job offer he should accept it—or he will experience unpleasant consequences.
The story ends (spoiler) with Ames missing the flight to his new job, and Sarah tracking him down and telling him she wants him to help her fight the system.
This is a readable enough story but I wasn’t convinced by the Sabermetric conspiracy gimmick, and I’m not that interested in baseball stories (or the author’s infatuation with “knuckle ball throwers”). Finally, I’m getting a bit bored of stories with simplistic anti-capitalist subtexts, most of which never amount to much beyond conspiracies and/or smash the system endings.
* (Mediocre). 8,250 words.

Kangaroo Court is by Virginia Kidd

Kangaroo Court by Virginia Kidd1 (Orbit #1, 1966) starts off as a satire about bureaucracy with Tulliver Harms, the First Exec of the Middle Seaboard Armies, sidelining other branches of government so he can deal militarily with an alien landing on Earth. Then Wystan Godwin, the story’s main character, arrives after six months in a Tibetan lamasery oblivious to all of this. Most of the rest of the first part of the story concerns Godwin’s readjustment to society (he buys some depilatory cream to make his hairstyle conform with the times, etc.), and his gradual awareness that he is being kept in the dark:

Still serenely certain that somehow, somewhere, the traditional Liaison packet was on its traditional way to him, Wystan Godwin—lacking even the one or two bits of information that might have triggered an assessment of the true situation—sat and waited for a sheaf of papers to bring him up to date. As Harms had foreseen, he never even thought of demeaning his position by actively seeking data from anyone in the complex. The only man of status equal to his, Harms himself, never spoke directly to him. Their sole contact was via dispute protocol, a procedure as ritualized as the mating dance of the bower bird. Harms’ dictum of later swallowed up fourteen days.  p. 101

This wordy and slightly affected semi-satire swallows up about a third of the story, until the point where Godwin (after a peculiar dispute between Harms and a draughtsman) eventually gets his hands on the briefing documents concerning the aliens. Then the story switches to become a first contact piece, beginning with a data dump of several pages from the liaison packet.
These papers reveal that the aliens are called the Leloc, and they are intelligent marsupial creatures virtually identical to the kangaroos on Earth (we later find that the latter are a devolved colony of Leloc left behind millions of years ago). We also learn about Leloc technology in general, and their Hilbert space drive in particular, which apparently causes temporal distortions (initially, if I recall correctly, the Leloc think they have been away from Earth for six months, not millions of years).
The final part of the story sees Godwin meet the Leloc in their spaceship, where he has to quickly learn their strange movement and number customs (there is a lot of standing up and sitting down, and people and Leloc coming and going with chairs). When the Leloc later learn that Harms is threatening to attack the ship they refuse to go to Australia to meet their descendants, and say they’ll stand their ground. Matters eventually proceed (spoiler) to an ending where Harms is kidnapped by the Leloc, and the latter’s leader is deposed and left behind.
This very much feels like the work of an amateur or neo writer: apart from the fact that it seems to be two stories fused into one, and has a huge data dump in the middle, it is buried under far too many words. And, to be honest, a lot of the incident in the story is of little interest.
It’s not dreadful, but it’s far from being any good; why Knight thought it would be a good idea, after eight months of reading submissions, to devote almost a third of the anthology to this is a mystery.
* (Mediocre). 18,200 words.

1. Kidd was previously married to James Blish, and was better known and an agent and editor than a writer. Her ISFDB page is here, and her Wikipedia page here.