A Son of the Rock

Daw Books, 1981, 250 p.

In Variation on a Theme by Beethoven by Sharon Webb humans have developed an immortality treatment but it comes at the expense of their creativity. A reluctant David, who is musically gifted, is plucked from his boyhood life on Vesta to be taken to Renascence, on Earth, to be trained for sixty lunar months before deciding if he wants to be immortal or creative.
Beatnik Bayou by John Varley is set in his future where medical modification of the human body is commonplace and sex changes unremarkable – even desirable. This one deals with what growing up in such a society might entail and the problems with having age-altered personal tutors as constant companions. Tonally the narration is not consistent.
Elbow Room by Marion Zimmer Bradley is one of those confessional stories within which the narrator becomes riddled with self-doubt. She is the director of a Vortex station, institutions which oversee wormholes and had a history of their operators committing suicide or else murdering one another. So a system was evolved in which only a few people would inhabit the stations meeting only occasionally so as they have elbow room. The narrator therefore has her own cook, her own gardener, her technician, her personal priest; even perhaps her own male whore. The crisis comes when a malfunctioning ship arrives at the Vortex and she has to board it, thereby encountering strangers.
The Ugly Chickens by Howard Waldrop finds Paul Lindberl, biology assistant at the University of Texas, setting out on a wild bird chase after a woman on the bus refers to seeing in her childhood the “ugly chickens” he was looking at in his book of Extinct and Vanishing Birds of the World.
Prime Time by Norman Spinrad is a take on the future of entertainment where people retire to Total Television Heaven able to access tapes (how soon the future becomes obsolete!) containg their favourite programming and real-time-share them with their nearest and dearest or not-so-dearest as the case may be. The story also has a rather conventional view of the lineaments of male and female desire.
Though typically well written George R R Martin throws a lot of SF tropes into Nightflyers – cloning, telepathy, ancient star travellers, holograms, telekinesis, a backdrop of an extended time-line, the mad woman in the attic (or in this case, a spaceship’s control systems.) Karoly d’Branin has assembled a crew of xenobiologists, linguists, a xenotechnologist, a telepath, a cyberneticist and an ‘improved model’ human to find the almost mythical volcryn, said to have cruised the galaxy at sublight speed for millenia. The ship’s captain, Royd Eris, is secretive though, never emerging from his quarters, appearing only as a hologram. Things begin to go wrong when the telepath feels a stange presence before dying violently.
The first sentence of A Spaceship Built of Stone by Lisa Tuttle is reminiscent of Shelley’s poem Ozymandias but the scene it describes is occurring in a dream. The dreams, apparently of the stone-built city of the ancient Anasazi culture, are being experienced simultaneously by many people round the world. Narrator Rick comes to suspect they are a softening up exercise for a quiet alien invasion.
In Window by Bob Leman, an experimenter on telekinesis has disappeared, along with his work cabin, and been replaced by a transparent cube one hundred feet to a side. The scene it shows, of another reality, looks idyllic. Then, during the brief time there is an interface, one of the obsevers steps through.
The Summer Sweet, The Winter Wild by Michael G Coney is one of the very few pieces of fiction to be written in the first person plural. (Another is my own This is the Road.) Here the We of the narrator(s) is a herd of caribou, some of whose members a while ago developed the telepathic ability to make the Herd and other animals feel their pain when they were injured or attacked. Wolves then back off, also humans (thought of by the Herd as ‘You’,) hence the weak and ill of the Herd do not die, therefore go on to breed.
A disillusioned artist wanders a beach in Achronous by Lee Killough and finds he has stepped into a bubble in time, with people from the far future taking refuge from the end of their world. It gives him new inspiration.

Pedant’s corner:- In the Table of Contents; Killiugh (Killough.) Othjerwise; “a series of performance halls were displayed” (a series … was displayed,) “wasn’t what what he’d be doing?” (wasn’t that what he’d be..,) “a muttered tympani” (a muttered tympanum,) “angle-length maternity gown” (ankle-length,) Argus’ (Argus’s,) tepee (tepee is the preferred spelling,) “‘I thought what happens was…’” (what happened was,) “in the first found” (first round,) a missing comma before a piece of direct speech, “on my master’s” (Master’s,) the Chicksaw Nation (Chickasaw, as used previously,) band-new (brand-new,) “none of the soaps were personalized” (none of the soaps was personalised,) “was, What would …” (either enclose the ‘What would ….’ phrase in quotation marks or drop the comma and the capital W at What,) an opening quote mark where none is required and therefore not subsequently closed, Reeves’ (Reeves’s,) “because that is an instinct. We all have” (due to the plural nature of the narrator and its/their capitalisation elsewhere that should be ‘because that is an instinct we all have’ with no full stop,) grill (several times, grille,) Pometheus (elsewhere Prometheus,) D’Branin (usually d’Branin, but D’Branin at the beginning of a sentence – why?- and, once, within one,) Eris’ (Eris’s,) “‘I have not had much a life anyway’” (much of a life,) spasticly (spastically.)