Scratch Pad 14

Scratch Pad 14 Based on ✳brg✳ No. 12, a magazine written and published by Bruce Gillespie, 59 Keele Street, Victoria 3066, Australia (phone (03) 9419-4797; email: [email protected]) for the December 1994 ANZAPA (Australian and New Zealand Amateur Publishing Association) mailing. Contents 1 THE NOT-QUITE CAREER OF KEITH ROBERTS 7 CD REVIEWS by Bruce Gillespie by Bruce Gillespie THE NOT-QUITE CAREER OF KEITH ROBERTS by Bruce Gillespie (Delivered as a paper to the October 1994 meeting of the illustrator, rather than science fiction writer. I can’t Nova Mob, which is Melbourne’s sf discussion group.) discover whether he actually earned a living from paint- ing at any time, or whether he’s ever earned much of a It’s all Race Mathews’ fault. Race attended the Nova Mob living from anything. meeting at which this year’s topics were decided. Stuck Roberts was editor of Science Fantasy during the for ideas for my 1994 talk, I asked which author merited mid-1960s, and of SF Impulse for the entire year of its writing about. Race’s suggestion was English writer existence. More importantly, Roberts is best remem- Keith Roberts, mainly because Roberts’ book Pavane bered as the cover artist for the digest-sized SF Impulse had stayed in his memory as a fine achievement of and the Mike Moorcock-edited New Worlds. In the En- science fiction. cyclopedia of Science Fiction, John Clute comments: Vague memories can make you careless and trap you into doing things you really should have avoided. I His boldly Expressionist covers, line-oriented, agreed to write about Keith Roberts because I also paralleled the shift in content of these magazines remembered Pavane with some affection. Also I recalled away from genre SF and fantasy towards a more that some of Roberts’s stories from the early 1970s were free-form speculative kind of fiction. He has il- very good indeed; he had all the fine qualities of good lustrated several of his own 1980s titles. (pp. 101–3) British science fiction, but had not ‘gone experimental’ in the manner of the New Wave, at that time the major In late 1968, New Worlds went to A4 size, and Roberts influence in Britain. disappeared from it, both as artist or writer, for several So early this year I launched into what I intended as years. Only in the early 1970s, when Moorcock edited a major celebration of Keith Roberts’s fiction. I’ve spent the much less experimental original fiction anthology 1994 regretting that decision. version of New Worlds, did Keith Roberts return to the I accepted the commission to write about Keith fold. Several of his very best stories appeared there, and Roberts because I hoped to resurrect the reputation of he provided interior illustrations for New Worlds. a neglected writer. Instead I find myself in an awkward It’s hard to summarise Keith Roberts’ career in fic- position of finding major faults in the work of a dying tion. Yes, it’s true that has had an important place in writer. The latest Ansible brings the news that Roberts, English sf since the mid-1960s. But it’s not that impor- who has multiple sclerosis, has had both legs ampu- tant. I always think of him as a figure standing to one tated. He expects to spend the rest of his life in hospital. side of the stage, looking on, making the occasional Since the following talk would hardly bring joy to him or dazzling contribution. He’s never been at the centre of his many admirers, I won’t feel free to publish it until activity, like Clarke, Aldiss, Ballard, Moorcock and even after his death. Brunner. Before his connection with the Mike Moorcock reign, I Keith Roberts sold undistinguished stories, mainly to The Magazine of Fantasy & Science Fiction in America Keith Roberts is the mystery man of British science and Ted Carnell’s New Worlds and Science Fantasy in fiction. The sources I have contain little or no biographi- Britain. cal material about him. I know that he was born in 1935, In the mid-1960s he published a rather tedious and that his main occupation has been visual artist and historical novel, The Boat of Fate, and his first sf novel 1 The Furies. At one level, The Furies is a typical British II disaster novel, although it is both more vivid and much less competent than anything John Wyndham or John Because Keith Roberts’ reputation rests to such a large Christopher ever wrote. A nuclear experiment that goes extent on Pavane, I must start there to give any idea of wrong heralds the invasion of giant intelligent wasps, what his writing is like. But it’s because Pavane is not who kill most people in Britain, round up the rest, and typical of Roberts’s work that I’ve had much trouble establish giant nests. The Furies is an odd combination coming to terms with his other books. of very vivid scenes and very badly dramatised material. Pavane, for instance, is the only one of Keith Roberts’ Roberts achieved acclaim when in 1966 he published books to be built solidly on a science fiction idea that in British magazines the stories that were later collected makes sense. To quote Paul Kincaid, in Twentieth- into Pavane. Published in 1968, Pavane was called a Century Science Fiction Writers: novel, but it is in fact a fix-up: a collection of linked pieces of short fiction. Pavane has been acclaimed as one of the finest of Pavane remains one of the most successful pieces of all alternate-universe novels, though Roberts him- British sf of the last thirty years. Apart from two collec- self would dispute this, since he sees it more as an tions of Stanislaw Lem’s novels, it is the only sf book examination of cyclic history, which he makes clear picked by Penguin for its prestigious King Penguin in the Coda to the book. [Pavane] provides a series. With the addition of a story missing from the first mosaic portrait of a world in which Elizabeth I was edition, Pavane was reprinted by Gollancz during the assassinated, the Spanish Armada was successful, 1980s. It continues to be Roberts’s best-known work. and, in the later years of the 20th-century, England But it was in the early 1970s that Roberts published is still under the sway of the Catholic Church. Set the stories that I remember best. They include mostly in the English West Country around Corfe ‘Weihnachtsabend’, set in a Britain occupied by Nazi Castle . the novel tells of a world in which social Germany, and ‘The Grain Kings’, which tells of gigantic and technological progress has been slow indeed. combine harvesters that operate like ships as they cross There are steam-powered road trains, and commu- the newly-made-fertile plains of Northern Europe and nication is by a network of semaphore stations, Russia. To make a pilgrimage back to such stories was though Roberts is at pains to make these curiosities the main reason why I took on the task of preparing this as much as possible a part of the ordinary daily life talk. Unfortunately in the process I overdosed on Keith of his characters. (p. 666) Roberts’s science fiction. I had hoped to celebrate his work; now I find I must make excuses for his peculiari- In Trillion Year Spree, Brian Aldiss writes affection- ties. ately and perhaps even too kindly about Pavane: During the mid-1970s and the 1980s Roberts has had steadily decreasing financial success. After the Roberts’s setting for Pavane, as for so much of his release of a collection, The Passing of the Dragons, in work, will be familiar to anyone who has read America, but he has failed to sell any more of his books Thomas Hardy. Rural Dorset at the heart of Wessex there. In Britain Gollancz published him, without mak- is seen with the sharpest of eyes and presented with ing money on his books, until the mid-1980s, when a haunting visual clarity. Corfe Castle and its sur- Roberts went to Kerosina Books, a small publisher in roundings — the Isle of Purbeck — are marvellously which he had a half interest. His most recent books have and unforgettably evoked. Roberts’ alternate world appeared from Morrigan and Sirius, two very small is credible because its landscape is so lovingly British publishers, and none of his recent books has re-created for us. been bought by a paperback publisher. The story unfolds slowly, like the dance from Roberts’s only continued success has been with a which the novel takes its title. The story-line itself loyal core of British sf readers. He has won the British is one common enough in SF, but its manner of SF Fantasy Award twice in recent years: for the short telling is rare. The Catholic Church and its Pope story ‘Kitemaster’, which became the basis of the fix-up have held sway over the whole of the globe for four ‘novel’ Kiteworld, and for Grainne, a novel I haven’t read hundred years, suppressing all technological devel- yet. ‘Kitemaster’ also was voted by readers of Interzone opment. The forces of rebellion — of suppressed as its year’s best short story. technological progress — spark and ignite against Most of his books are now hard to get, and one, Anita, a rigidly static society. In simple terms it is the tale seems to have disappeared altogether. Alan Stewart has of the coming of freedom to the world.

Load more