Barry N. Malzberg (1939–2024)

What the hell did I just read? An LSD trip scribbled onto the page, the deconstruction of the sci-fi genre? Who knows.

Beyond Apollo is imaginative and bizarre, often straddling the line between nonsense and cleverness, sometimes leaving that line far behind.

What I truly enjoyed about the book is that unlike pretty much every book I've ever read, Beyond Apollo gives you nothing to latch onto. You cannot be sure of anything, cannot grasp on to any genuine shred of personality from the main show more character, Harry, as he journeys through his own madness.

Harry spends a lot of time imagining having perfunctory and bland sex with the wife he seems to loathe and spends even more time homoerotically contemplating every man he meets. Did he murder the Captain of the Venus ship? I don't know. Did they even go to Venus? I don't know.

Harry is such an unreliable and metatextual narrator that I'm still confused about what I just read. But I liked it. show less

This short 1974 novel is a sequel to the author’s first novel published under his own name, 1972’s Beyond Apollo. It is far, far better, in my opinion. Maybe I should have given this five stars.

The narrator, a caseworker (“investigator”) for The Center — New York City’s welfare bureau — is given a problem file, a family on assistance who may or may not qualify for said assistance, since there are questions about “past maintenance.” Mercer, the narrator, hates the supervisor show more who wants him to deny the family’s claims, but has bigger problems on his mind: he is haunted by an annoying being he calls “Lucas,” someone that only he can see and hear. And it turns out this Lucas is — “he” “says” — a representatives for the Galactic Overlords, and they have randomly selected our narrator to be given a test, upon which the fate of our planet rests. Should he succeed, humanity becomes part of the galactic community in good standing; should he fail, well, then comes the event of the title, The Day of the Burning.

Meanwhile, there are regular reports about a problematic mission to Venus, events of which are told by the similarly hapless sexual lunatic, the ultra-unreliable narrator of Beyond Apollo. These reports are the best part of the novel, providing regular comic intermezzi in the continuing story of our guide through 1981 New York.

Written in the mid-70s, 1981 was the future, then. It’s the past now, and very different a past it is. Thus does futuristic sf become alternative history. Time transmogrifies genres.

What makes this book work better than the earlier — I insist it is, though no one else appears to agree — is that it is easier to follow, funnier, and its premises are set up to greater effect. It works better as satire, because the focus is on two State endeavors, one lofty (the space program) and the other lowly (welfare assistance). Both are probed and pilloried.

And the nut-case at the center of the story, Mr. Mercer, is somewhat more mildly nutty than the mad astronaut of the earlier effort, and the setting — a city bureaucracy — is more easily relatable and all-too-humanly dysfunctional.

A comparison with Philip K. Dick is inevitable. Malzberg is quite obviously the better writer qua writer, though his sticking to a first person technique gives him an easy up: Dick almost invariably chose the tougher task of multiple-character third person narrative, too often failing. The Day of the Burning, on the other hand, is classically proportioned and thematically tight. Mercer, like a Dick anti-hero, is a professional and social failure with sexual problems, including a psychologically repellent (nagging) lover, as he fully confesses. But his narration raises him in the reader’s sympathies — at least it did mine — despite the obvious interpretation: he is as mad as a helmeted hatter.

In the end, he is murderous. Indeed, as I finished reading the book, another author’s work came to mind: Vladimir Nabokov. This I liken unto the cheery dark comedy of Despair, a wildly under-rated work, while the more complicated and vexing novel Beyond Apollo strikes me as thematically more like Lolita but technically in Pale Fire territory, sans the poetry and commentary, of course. But perhaps I stretch.

I suspect that the reason this novel is not well known is that it too effectively took on the welfare state. Few sf enthusiasts who glory in New Wave literature would likely accept a double critique of both high and low statism. For me, of course, this is as natural as a Stoic ideal or an Epicurean evasion. Malzberg is in danger of becoming my favorite sf writer. show less

This book is quite sick and I liked it even though I was expecting something different. Don't know if the behavior of the characters felt natural and authentic for people who were trained as astronauts but maybe considering that the story is told by a completely unreliable narrator it is intended to seem so strange. I enjoyed the way the story unfolds - a kind of painful and horrific nightmare with many repetitions and contradictory scenes that leave the reader lost. Also, it was surprising show more to encounter the theme of homosexuality in a sci-fi book written in 1972, and for me, it was quite thought-provoking in the way it was integrated into the story and I think it adds some charm. It wasn't easy reading but the aftertaste is unique and I wouldn't mind reading more psychologically driven sci-fi stories like this one even though I prefer more hard science fiction. show less

Good-but-not-great compendium of horror stories originally published in 1981 and since reissued under a number of different titles (Great Tales of Horror and the Supernatural, The Giant Book of Horror Stories, et al.). It covers a lot of ground, but much of the book reflects the very individual tastes of its editors...and, particularly amongst the more recent material, this leads to the ill-advised inclusion of stories which, even by the loosest definition, struggle to qualify as "horror." show more Hence a couple of pointless, uninvolving vignettes like Arthur L. Samuels's "Mass Without Voices" and Elizabeth Morton's "Namesake," and a longer story such as editor Bill Pronzini's "Black Wind." (Pronzini wrote at least one bang-up horror tale, "Peekaboo," and it's the one that should have appeared in this collection. You can find it in Nightmares, the anthology edited by Charles L. Grant, or Frank McSherry's A Treasury of American Horror Stories.) Most of the earlier stories are fantastic, however, and Truman Capote's chilling "Shut a Final Door" demonstrates that horror can be found in atypical locations. There's a curious lack of emphasis on English authors, who were incredibly important to the development of ghost and horror stories. You may find it difficult to imagine a book that purports to trace the history of the genre yet includes nothing by M.R. James or Algernon Blackwood, but here it is. (However, James's favorite ghost story writer--the Irishman Sheridan Le Fanu--is represented with "Squire Toby's Will," one of his greatest works.)

All in all there's some terrific stuff, including less frequently anthologized tales by Poe ("Hop Frog") and Nathaniel Hawthorne ("Rappaccini's Daughter"), as well as undisputed classics by Henry James ("The Jolly Corner"), Lovecraft ("Pickman's Model") and Karl Edward Wagner ("Sticks"). The intro was written by Stephen King, who also contributes one of his best and most overtly horrific stories ("The Crate," later dramatized in George Romero's 1982 film Creepshow). Not a comprehensive anthology, but a very readable one for the most part. show less