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Steam Engine Time 1 Steam Engine T ime Issue 1 April 2000 2 Steam Engine Time Steam Engine Time We’re Here Because Issue 1 April 2000 We’re Here Cover Bruce Gillespie Ditmar (Dick Jenssen) We’re Here Because We’re Here Bruce Gillespie 2 I’M ONLY ONE OF THREE EDITORS, BUT HERE’S MY STORY OF WHY WE’RE The Instrumentality Saga invading your mailbox with this new magazine ... The first day of Aussiecon 3, September 1999, is where it started. David Seed 3 For the first time I met Paul Kincaid and Maureen Kincaid Speller. We Essentials 8 felt we knew each other already, because for some years we had been When Our Toys Were Taken Away corresponding as members of Acnestis, the British-based apa for people Paul Kincaid 9 who (still) read books. We realised we had been on the same wavelength all along. Death Of A Ghost? First day of the convention. First panel on which I was scheduled to Maureen Kincaid Speller 10 speak. Maureen is on the panel, as well as John Douglas from New York Discovering Olaf Stapledon and Bill Congreve from Sydney. Subject: Review and Criticism. General conclusions? Not many, but we decided that what is lacking in sf Bruce Gillespie 13 reviewing and criticism is what George Turner called the ‘review article’: Mr Kurtz, He Dead much longer than a book review, but not overburdened by theory or other Paul Kincaid 20 symptoms of pretension. In short, we longed for the sort of meaty article No Man Is An Island that used to be the staple of the serious fanzines. Remember Speculation, Cypher, Australian Science Fiction Review ... even SF Commentary? Maureen Kincaid Speller 28 Maureen and Paul and I had long talks over long beers during the next If You Do Not Love Words week or so. Was I was the person who actually suggested a transworld Elaine Cochrane 30 fanzine? Or was it Paul, excited by the possibilities offered for Internet file- swapping by such new programs as Microsoft Publisher? Bookmutterings Several ideas caught fire in the collective editorial nut. I feel that the Bruce Gillespie 36 best pieces from Acnestis should be resurrected, polished and presented to Back cover people who (a) haven’t seen an issue of SF Commentary for awhile, and (b) Ditmar (Dick Jenssen) don’t receive Vector because they don’t subscribe to the British Science Fiction Association. Paul and Maureen want a platform for publishing review articles. Paul saw, as I didn’t, how easy it might be to publish on two continents simultaneously. Steam Engine Time is jointly At the moment I’m not quite sure what will appear in Steam Engine edited by Bruce Gillespie, Paul Time No. 1. I’ve offered several of the best pieces from the SF Commentary Kincaid and Maureen Kincaid Speller. files. I don’t know which direction Paul and Maureen will take. Paul shows great élan in using Microsoft Publisher, but it drives me crazy. I’m Steam Engine Time will be published twice a year. Letters and preparing my files in MS Word, and trusting to Paul’s design skills to contributions are welcome and should make this magazine look good. be sent to: What, then, is happening to SF Commentary? I’ve made so many promises over the last two years and broken them all that I refuse to make Bruce Gillespie more promises. The George Turner Special is nearly finished, but it’s been 59 Keele St., Collingwood, VIC 3066, Australia nearly finished since April 1999. If I hadn’t had to write two speeches for [email protected] Aussiecon 3, it might even have appeared in September. There are hundreds of pages of superb material in the SFC files, but to avoid OR bankruptcy, Maureen, Paul and I are sticking to 40-page issues of SET. We believe there is no lack of interest Out There for the kind of fanzine we Maureen Kincaid Speller ✦ 60 Bournemouth Road, hope to develop. Let us know what you think. Folkestone, Kent CT19 5AZ, UK [email protected] Steam Engine Time 3 The Instrumentality Saga David Seed DAVID SEED is a THE REDISCOVERY OF MAN, THIS COLLECTION OF CORDWAINER SMITH, HAS BEEN assembled with a very clear and specific aim in mind. Instead of placing member of the English Smith’s stories in their order of publication, the editors (James A. Mann and a group of people associated with the New England Science Fiction Association) Department at Liverpool have arranged them according to their places within the larger sequence of the University. He is the Instrumentality history that Smith devised. One justification for this arrangement lies in the stories themselves. ‘Mark editor of Liverpool Elf’ (1957) begins: ‘The years rolled by; the Earth lived on, even when a stricken and haunted mankind crept through the glorious ruins of an immense University Press Science past.’ Many of the stories place themselves within an historical sequence but without the inset ‘histories’ of many sf novels. Smith’s master narrative is that Fiction Texts and the Old World has wiped itself out in the ‘ancient wars’. The following dark ages have ushered in a regime presided over by the Jwindz, a ruling caste of Studies series. He Chinese origin which tranquillizes the people. The next historical phase marks the emergence of the Instrumentality, the development of space travel, and the edited Anticipations: creation of a utopia. The last phase of Smith’s history, which critics have Essays on Early Science compared to Olaf Stapledon’s chronicles, marks the Rediscovery of Man, where old cultures re-emerge and the conditions of the underclass are Fiction and its relieved. These stages in the broad historical cycle feature very differently in the Precursors for the stories. The earliest phases are not narrated at all, only indicated through their traces, for instance. But the stories regularly build on each other. ‘Mark Elf’ series; is currently capitalises on the reader’s memory of the Second World War; we are now in the Sixth Reich under a government run by morons, probably a glance at C. M. working on a study of Kornbluth’s famous dystopian story ‘The Marching Morons’. ‘The Queen of the Cold War; and is the Afternoon’ (1978) opens with a reprise of Smith’s earlier story, which fills out the background of the latter’s protagonist. editing a collection, And terminology in one story will be explained in another. We have to cross-reference works to discover the meanings of terms like ‘scanners’ and Imagining Apocalypse, ‘pinlighters’. Typically, Smith’s stories carry a referential margin which is never closed off. He wrote this device explicitly into a 1959 story ‘When the for Macmillan. People Fell’, which describes the Chinese invasion of Venus. Events are recounted by an eye-witness to a bemused journalist, whose ignorance places him in the position of the reader. The narrator’s opening question challenges the journalist’s capacity for response: ‘Can you imagine a rain of people through an acid fog?’ The journalist struggles with such images and unfamiliar terms right through the story, and finally manages a clear sense of events, but his editor files the story away in the archives because ‘it wasn’t the right kind of story for entertainment and the public would not appreciate it any more’. ‘Entertainment’ strikes an ironic note here, because Smith usually avoids narratives of sensational action, instead of confronting the reader with enigmas to be puzzled over. ‘The Dead Lady of Clown Town’ begins with a reversal of the usual sequence of storylines from a known beginning to an unpredictable conclusion: ‘You already know the end — the immense drama 4 Steam Engine Time of the Lord Jestocost’. The starting point to the gods and sages (Odin, Akhnaton, Laodz (Lao-Tze?), sequence is described as a place: An-fang Square etc.) are quite diverse in this story, while in Smith’s (‘beginning’ in German). This same Jestocost features later tales access to ancient wisdom specifically in ‘The Ballad of Lost C’mell’ (1962, published two involves rediscovering the symbols of Christianity — years before ‘The Dead Lady of Clown Town’) where fish, cross, and so on. In his excellent survey of we are told that ‘he had no idea ... that he would Smith’s career and work in Speculation No. 33 (1976), willingly fling himself into conspiracy and danger for John J. Pierce argues that 1960 marked a turning a cause which he only half understood’. point. After a serious illness that year Smith began Again and again Smith stresses how time and introducing religious motifs more and more into his circumstances hide knowledge from his characters, writing, signalling a move away from a previous who regularly struggle to understand their emphasis on the relation of mankind to machine. situations. Smith brilliantly enacts dramas of Smith’s sole SF novel, Norstrilia, marks this important understanding, as in ‘Drunkboat’ (1963), the story of transition for Pierce. It was first drafted in 1960, part- ‘Rambo’ as a space voyager. Drawing on Rimbaud’s published in 1964 (The Planet Buyer) and 1968 (The famous poem ‘Le bateau ivre’, Smith transposes Underpeople), but not issued in its entirety until 1975. exploration on to the sea of space, so that his Rod McBan is the ‘last heir’ to an area of Old North character becomes an extraordinary voyager beyond Australia (a colony planet) where the drug stroon is human limits. The Lord Crudelta (‘cruelty’) designed produced. By cornering the market in the drug, he him and his rocket for a voyage of manages to carry off a commercial discovery that would repeat that of coup in buying the Earth.