You’ve seen the new ‘Star Wars’ movie — should you read the book tie-in?

If you can’t get enough of the new “Star Wars” movie, Obi-Wan Kenobi is not your only hope. Use the Force — of a book.

Alan Dean Foster has dozens of novels to his credit, as well as a formidable number of media tie-in works for major franchises such as “Star Trek” and “Alien.” Foster penned the first “Star Wars” novelization (credited to George Lucas), as well as “Star Wars” expanded-universe novels. Now he has written the novelization for “The Force Awakens,” which just broke the U.S. box-office opening weekend record with $248 million in ticket sales. I loved J.J. Abrams’s movie, and Foster’s book does it proud: It’s fast-moving, atmospheric and raises goose bumps at just the right moments.

Novelizers typically don’t see the film before they write the book. They’re given a screenplay and some still photos, and they work from that. So it’s a testament to Foster’s skill and professionalism that he not only evokes entire onscreen worlds but that he also gives us glimpses of an even more vast, unseen universe that has arisen from his impressive imagination.

“Hmm! Adventure. Hmmpf! Excitement. A Jedi craves not these things,” Yoda advised Luke Skywalker. But “Star Wars” fans do. Thank the Force that Foster delivers. (The e-book was released Dec. 18; the hardback version will arrive Jan. 5.)

Snobs may dismiss such books as an attack of the clones, but for as long as humans have had media, we’ve had media tie-ins. Our ancestors no doubt provided narrative accompaniment to the cave paintings in Lascaux, France. Flash-forward 17,000 years to the dawn of the motion picture industry. Novelizations — books based on screenplays and illustrated with photo stills from films — became popular with such classics as “The Perils of Pauline,” “The Ten Commandments” and “Metropolis,” as well as movies now lost or forgotten. In 1918, even Jack London penned one based on a romance called “Hearts of Three.”

Since then, myriad well-known authors have adapted their work or that of others. The very long list includes H.G. Wells, Louis L’Amour, John Steinbeck, Orson Welles, Graham Greene, Arthur Miller, Pearl S. Buck and —Zut alors! — Jean-Paul Sartre. Although novelizations are often regarded as a phantom menace, most of the authors just named were working writers and, I suspect, disinclined to turn down a paying gig. As Samuel Johnson said, “No man but a blockhead ever wrote, except for money.”

My introduction to novelizations came in 1995, when my agent asked whether I would be interested in adapting the screenplay for Terry Gilliam’s “12 Monkeys,” a flick inspired by one of my favorite films, Chris Marker’s sublime 1962 short “La Jetée.” Gilliam’s screenplay was by David and Janet Peoples; David had co-written the screenplay for “Blade Runner,” another of my favorite movies.

I am not a blockhead. I said, “Yes!”

But I had no idea how to adapt a 110-page screenplay into a 213-page novel. I had no still photos, no set designs, no information about the cast, other than that it starred Bruce Willis and a relative newcomer named Brad Pitt. So I called my friend Terry Bisson, a Hugo and Nebula Award-winning writer who had done novelizations for “Virtuosity” and “Johnny Mnemonic.” His advice, rendered in a thick Kentucky drawl:

“This is all you need to know: If the script says the character ‘sits in a chair,’ he doesn’t ‘sit in a chair.’ He ‘ambles thoughtfully across the thick oriental carpets that covered the wooden floor of his expansive, tastefully furnished living room, and settles slowly and with a prolonged sigh into a large, overstuffed, red-velvet armchair.’ ”

Lesson learned. After I turned in my manuscript, David and Janet Peoples called to say I had done a great job.

I had two small children to support, and I write my own “serious” fiction very slowly. But this novelization work was fast and fun, and good money for the amount of time it took. I went on to do a half-dozen tie-ins, including one based on Chris Carter’s “X-Files” movie, “Fight the Future,” and the pilot for his TV series “Millennium,” which I had to write in five days.

A few years later, Bisson provided my entry to more media work, this time in the “Star Wars” universe. He had done two “Star Wars” young adult novels starring the 10-year-old Boba Fett and wanted to know whether I would like to carry on with the series. I loved “Star Wars,” and my 10-year-old son was a huge fan. He had a Boba Fett helmet! How could I say no?

Those books were a delight to write. David Levithan, my editor at Scholastic and himself a successful Y.A. writer, introduced me to Lucasfilm’s Jonathan Rinzler. They both offered encouragement and very little in the way of restrictions. With each story, I was given a title and a character or place that had to come into play: Aurra Sing; Jabba the Hutt; Mace Windu; the planet Aargau (which existed in the “Star Wars” universe only as a name, so I got to create an entire planet’s history, ecology and culture).

Otherwise, I pretty much had free rein to create the plot, characters and young Boba’s own sensibility. Boba Fett grows up to be a bounty hunter, the nemesis of Han Solo, but as a mom, I felt I had a responsibility to show him as a resourceful, sensitive, sometimes frightened orphan who overcame his fears and even made a few friends his own age.

The best part of writing those stories was the fan mail I received from young boys, some of whom confessed to having read few other books. One shy third-grader named Evan asked whether he could do a phone interview with me for a school project. Afterward, his mother got on the phone and told me that the assignment was a report on a famous American. I was Evan’s first choice. His second? Thomas Jefferson.

THE FORCE AWAKENS
Star Wars
By Alan Dean Foster
LucasBooks. 272 pp. $28

Originally posted on WashingtonPost.com.

New books on Salem's trials and modern pagans offer bewitching reading this Halloween season

In “The Witches: Salem, 1692,” a masterful account of the epidemic of paranoia and religious fervor that overcame residents of Essex County in the Massachusetts Bay Colony, Pulitzer Prize winner Stacy Schiff takes on “America’s tiny reign of terror,” the Salem witch trials. Most Americans know of the trials only through fictional accounts like Nathaniel Hawthorne’s “House of the Seven Gables” or Arthur Miller’s play “The Crucible,” which conflated Salem’s vicious persecutions with those of the McCarthy era. Schiff painstakingly reconstructs not just the events of 1692 but the world that birthed them: Puritan New England, where Wabanaki raids and massacres were common, food scarce, and the winter darkness inescapable for months on end.

Her accomplishment is all the more remarkable because there are no records of the court sessions — Schiff sifted through archival material as well as historical accounts written by witnesses years after the epidemic.

All mention of the hangings were omitted or expunged from Salem’s official records; the court transcripts were supposedly destroyed in a 1765 fire. An exception is the evidence of witches, which included accounts of luminous jellyfish coming down the chimney, talking cats, satanic visitors, magic apples, and nocturnal flights over the Essex countryside.

The crisis began in the household of the Salem village minister, 30-year-old Samuel Parris. Salem village (the site of present-day Danvers) consisted of 90 isolated families, at a time when Boston had only 8,000 residents and the entire population of New England “would fit into Yankee Stadium.”

Salem’s villagers were a disputatious bunch, and Parris, their fourth minister, seems to have been unpopular — in 1691, his congregation voted not to collect his salary. Parris had grown up in an affluent merchant family in Barbados; he had no prior pastoral experience when he took the pulpit in 1689, for reasons that remain murky. Providing the incubator for an epidemic of witches was probably not among them.

Parris and his wife lived with their three children in a crowded household that included Parris’ 11-year-old niece, Abigail, and two Indian slaves, Tituba and her husband, John Indian. Sometime near the end of January 1692, first Abigail and then Parris’ 9-year-old daughter Betty began to act out: twitching, babbling, leaping into the air and pretending to fly. Salem’s Puritans had few amusements besides cultivating spite and nursing a grievance — no festivals or holidays enlivened the bitterly cold winters. Within weeks, the antics of the children fulfilled the role of reality TV, with as many as 50 visitors crowding the Parris house to gape at the girls.

A month after the onset of Abigail’s frenzy, Mary Sibley, a neighbor, watched the children while the Parrises were away. In their absence, Sibley decided to employ kitchen witchery to discern who or what had possessed the girls. She ordered John Indian to make a cake, mixing the girls’ urine with rye flour, and fed the resulting mess to the family dog. Parris was understandably enraged when he found out, but the damage was done.

A few days later, Abigail and Betty made the first false accusations of witchcraft. The devil began his rampage through Essex County.

More adolescent girls and two adult women joined ranks with Abigail and Betty, writhing as they jabbed accusatory fingers at those assembled in the courtroom. Neighbors accused neighbors, family members each other. Under questioning by a bench whose members presumed guilt, 55 people admitted that they were witches. The youngest confessor was 5 years old and spent nine months shackled in jail before her release. Her mother, a bellicose beggar imprisoned with her daughter and a newborn infant, was among the first to be executed.

By the time the epidemic ran its course late that year, 20 innocent people were dead. Among those executed were a highly respected, devout mother of seven, and an engaging minister accused of being a wizard. He recited the Lord’s Prayer before he was hanged, moving onlookers to tears.

Schiff dispels some common misconjectures about the trials, and ferrets out intriguing facts. Those thought to be witches were usually not people of color. Half of the Salem girls who were possessed were refugees or had been orphaned by the French-Indian wars. The median age of the accusers was 19, and well-educated girls were more likely to be major players — they would have read the gruesome captivity narrative of Mary Rowlandson, a bestseller of its time, as well as what Schiff calls “martyrdom porn,” literary sources awash in blood, torment and demons.

Longtime border disputes between neighbors seem to be another instigation for the mass hysteria, along with the brutal weather and steady diet of hellfire preaching that provided jolts of lurid energy in an unbearably bleak environment. But ultimately, as Schiff puts it, “Salem is in part the story of what happens when a set of unanswerable questions meets a set of unquestioned answers.”

And only one person taking the stand points out what the exasperated parent of any modern teenager would know: “We must not believe all that these distracted children say.”

Compared with Salem’s punitive, backbiting Puritans, the real-life pagans and Wiccans who populate Alex Mar’s entertaining “Witches of America” are a cheerful bunch, even if they indulge in the occasional blood offering. Mar’s 2010 documentary “American Mystic” followed three devotees of alternative religions. In “Witches of America,” she continues and enlarges upon that quest: “I want to understand the strange confidence necessary to climb onto the roof and sing to the moon, or to write out commands in your own blood … I want to grasp the moment when that confidence becomes conviction …”

Her journey takes her back to one of the documentary’s subjects, a young woman named Morpheus whose practice is centered on a Celtic battle goddess who often takes corvid form. Mar also travels to New Orleans in search of “the heavier stuff” practiced by adherents of Aleister Crowley’s darker strain of “magick,” and to PantheaCon, an annual convention attended by thousands of pagans. There Mar encounters BNPs (Big Name Pagans) with rock star charisma and entourages.

“Do you ever get people you think want to be your new friend,” one BNP wonders, “and then instead you realize they’re just hanging around waiting to ask for an initiation?”

Mar is an often amusing guide to the household altars and henges of 21st century paganism, in which Wiccans conduct classes via Skype and online distance learning. But what will resonate most with readers is her genuine and touching search for transcendence, which leads to a conviction that all of these strands of belief are “strategies for staying alive. Some are simply more elaborate and inexplicable than others.”

The Witches: Salem, 1692
Stacy Schiff
Little, Brown: 512 pp, $32

Witches of America
Alex Mar
Sarah Crichton Books/Farrar, Straus and Giroux: 274 pp, $26

Originally posted on LATimes.com.

In her memoir ‘M Train,’ Patti Smith opens up about her life and loves

“M Train,” by Patti Smith. (Knopf)This year marks the 40th anniversary of Patti Smith’s groundbreaking debut album, “Horses,” a sonic boom still sending aftershocks through music, literature and fashion. Her new memoir, “M Train,” is a Proustian reverie covering those four decades: a magical, mystical tour de force that begins in a tiny Greenwich Village cafe and ends as a dream requiem to the same place, encompassing an entire lost world in its 253 pages.

In her National Book Award-winning memoir “Just Kids” (2010), Smith took readers on a kaleidoscopic journey through the New York arts scene of the ’60s and ’70s that was the crucible for her poetry, drawing and, later, music. She also depicted in heart-rending detail her relationship with photographer Robert Mapplethorpe, one of the most influential creative partnerships of the late 20th century.

As perceptive and beautifully written as its predecessor, “M Train,” for the most part, eschews the straightforward, linear storytelling of “Just Kids.” Rather, it is a more excursive record of a lifelong pilgrim, illustrated by Smith’s own black-and-white photographs, filled with mementos mori and personal accounts of her travels, her artistic obsessions and inspirations. Like her first memoir, this one probes a deep emotional core, as Smith writes poignantly about her marriage to the incendiary guitarist Fred “Sonic” Smith, who died in 1994 at age 45.

Smith recounts trips to Mexico; Reykjavik, Iceland; Berlin; Tokyo; London; Tangier, Morocco; and Madrid, alighting back in the Michigan home she shared with Fred, and after his death, her apartment in the East Village. The book loosely plays off its title, with 18 chapters (and a brief prologue) representing stations in her footloose life.

But don’t read “M Train” expecting revelations of rock-star excess. There are myriad hotel rooms here, but they’re temporary havens where a restless soul finds solace in the work of Jean Genet, Haruki Murakami, W.G. Sebald, J.G. Ballard, Roberto Bolaño, among many others, and also in crime series such as “The Killing” (Smith is a huge fan of detective fiction and TV and is adapting “Just Kids” for a Showtime series.)

In fact, “M Train” is a bibliophile’s trove, with striking insights into the books that ignited Smith’s imagination. Of her obsession with Murakami, she writes, “And then, fatally, I began ‘The Wind-Up Bird Chronicle.’ That was the one that did me in, setting in motion an unstoppable trajectory, like a meteor hurtling toward a barren and entirely innocent section of earth. There are two kinds of masterpieces. There are the classic works monstrous and divine such as ‘Moby Dick’ or ‘Wuthering Heights’ or ‘Frankenstein: a Modern Prometheus.’ And then there is the type wherein the writer seems to infuse living energy into words as the reader is spun, wrung, and hung out to dry. Devastating books.”

In “M Train,” the path of Smith’s own trajectory is marked by recurring visions of a laconic cowboy, who may remind some readers of Sam Shepard, her former lover and collaborator on the play ­“Cowboy Mouth.” She also describes a series of remarkably lucid dreams and her decades-long, globe-spanning quest for the ideal cafe and the perfect cup of coffee, her drug of choice.

Sometimes, Smith comes across as a modern flaneuse, combining a ­photographer’s ­visual acuity with the boulevardier’s appreciation of the ephemeral, pointillist details that create the sprawling canvas of a peripatetic life. Other times, she is an amused participant-observer, as in her droll account of her tenure in an obscure club whose 27 mathematically and geologically inclined members are identified by their numbers (Smith is No. 23). They meet once a year to honor the memory of the German scientist Alfred Wegener, who proposed the theory of continental drift.

Mostly, however, she comes across as a lover: of literature, of art and music, of her children and late husband; of her parents and siblings, friends and mentors, many of whom have died. There’s an elegiac tone to much of “M Train.” Smith visits the garden of Schiller’s summer house, sets out to channel the final moments in Wegener’s life and lays flowers at a memorial for the filmmaker Akira Kurosawa. She searches for the graves of the writers Ryunosuke Akutagawa and Osamu Dazai, both of whom killed themselves, and then she continues her “run of suicides” with a pilgrimage to Sylvia Plath’s tombstone. “Death by water, barbiturates, and carbon monoxide poisoning,” Smith muses; “three fingers of oblivion, outplaying everything.”In 1997, two years before his death, she visits the elderly Paul Bowles in Tangier:

“‘Paul, I have to go. I will come back to see you.’“

He opened his eyes and laid his long, lined hand upon mine. Now he is gone.”

There is also a heartbreaking account of Fred Smith’s death, followed soon after by that of her beloved brother, Todd. Shortly after, she buys a tiny bungalow in Rockaway Beach in Queens, an area that is then devastated by Hurricane Sandy. Yet despite all of these losses, there is extraordinary joy here, too. Smith’s bungalow survives the storm, and her own journey continues, illuminated by her openness to the world and her compassionate, questing spirit. “The transformation of the heart is a wondrous thing, no matter how you land there,” she writes. “Oh, to be reborn within the pages of a book.”

Readers who share in Smith’s transcendent pilgrimage may find themselves reborn within the pages of this exquisite memoir.

M TRAIN
By Patti Smith
Knopf. 253 pp. $25

Originally published on WashingtonPost.com.

‘The Rim of Morning’ review: Two supernatural novels by William Sloane

Halloween comes early this year for lucky readers with the reappearance of two short supernatural novels by the forgotten writer William Sloane: “To Walk the Night” and “The Edge of Running Water.” Conjoined as “The Rim of Morning,” a handsome omnibus volume released by the publishing arm of the New York Review of Books, these undeservedly neglected works may at last find a permanent home alongside the cross-genre novels they anticipated: books that, in style and theme, move with ease between science fiction, noir, dark fantasy, supernatural horror and mainstream fiction.

William Sloane (1906-1974) graduated from Princeton, worked in publishing for a number of years, headed the wartime Council on Books and was the longtime managing director of Rutgers University Press. Belying his Ivy League background and slightly fusty C.V., Sloane had an interest in the occult. In the early 1930s, he wrote three plays dealing with ghosts, and in 1937 published “To Walk the Night.” Kirkus gave it a thumbs-up: “A supernatural story that is neither sensational nor lurid. . . . A good bet for those who like Poe’s work. A first novel — this man bears watching.”

He still does. Robert Bloch (of “Psycho” fame) named “To Walk the Night” one of his 10 favorite horror novels, up there with “Dracula” and “Frankenstein.” Sloane’s tale blends elements of noir, gothic and science fiction in a story that resists easy classification. It opens as the narrator, Berkeley M. Jones (called Bark), navigates the winding drive to a mansion overlooking Long Island Sound. He is there to deliver terrible news to the estate’s owner, whose son Jerry, Bark’s best friend, has killed himself. Bark wants to spare Jerry’s father the details surrounding his son’s suicide, the import of which Bark himself doesn’t completely grasp.

“I must tell my story matter-of-factly, as if that shadow in the corner of my mind did not exist. That was all. I must not make him feel, as I did, that something horrible lay behind what I said.”

Much of the strength of Sloane’s narrative derives from this matter-of-fact tone. One of the novel’s most unsettling scenes takes place during a flashback to an Ivy League football game in which nothing overtly supernatural seems to occur. After the game, Bark and Jerry, drunk and exhilarated over their team’s win, pay a surprise visit to Jerry’s old astronomy professor. The author of a controversial mathematical treatise, “A Fundamental Critique of the Einstein Space-Time Continuum,” Dr. LeNormand is something of a crank. “If he hadn’t been such a famous man to begin with, Jerry thought, they’d have asked him to resign from the faculty.”

What they find when they enter his observatory is something horrible indeed: The famous astronomer is dead and “burning like a torch.”

In the aftermath, the two young men are shocked to learn that the astronomer, a confirmed bachelor, had married just three months earlier. His widow, Selena, is a classic femme fatale: beautiful, icily intelligent, yet oddly detached. Bark finds her impossible to read; Jerry finds her impossible to resist. Within months, the two marry. Shortly after, they decamp to a remote cabin in the New Mexico wilderness, which is where Bark eventually tracks them down in an effort to learn the truth about who Selena really is.

With its witty dialogue, burnished glimpses of affluence and art, and eerily poignant ending, “To Walk the Night” reads remarkably like a contemporary thriller that pays homage to great noir films such as “Kiss Me Deadly” and “Laura.” But Sloane’s book appeared years before either of those movies or the books they were based on. Surely it deserves a film adaptation of its own?

“The Edge of Running Water,” published two years later, did get its own movie: “The Devil Commands,” starring Boris Karloff. Sloane’s second novel is a bit creakier than his first, slower-moving and more conventional in its setup and marred by an ending that feels rushed.

But the book’s polished style and atmospheric setting — a creepy old house overlooking the Kennebec River in coastal Maine — make up for the languid pacing. As in “To Walk the Night,” there’s a scientist at the heart of the tale: Julian Blair, an electrophysicist shattered by the untimely death of his beloved, much younger wife, Helen. Blair has retreated to the remote town of Barsham Harbor, where he summons his former student Dick Sayles, who was also in love with Helen.

Blair isn’t much in evidence — he’s holed up in a mysterious upstairs room, unavailable to all except his housekeeper, who dusts once a week. The house is also occupied by Helen’s younger sister, who bears a startling resemblance to her dead sibling. What Blair is trying to do is construct a machine that will allow him to communicate with the dead. When he shares the nature of his eldritch research with his onetime pupil, Dick’s reaction is predictable: “This is a mad project. It’s blasphemous. It’s impossible. . . . Have you stopped to think what such a thing as you are trying to do would mean, Julian?”

As one might guess, this doesn’t end well.

Like Shirley Jackson, Sloane masterfully describes the paranoia and close-mindedness of an isolated rural community when outsiders take up residence. The most striking and frightening scenes involve the sounds emitted by Blair’s creation, a sonic nightmare reminiscent of the effects in Algernon Blackwood’s classic story “The Willows.” And there’s a brilliant set piece when Blair finally reveals his machine to the horror-struck Dick, a small masterpiece of the cosmic horror invoked by the volume’s subtitle. After reading both of these elegant, disquieting novels, one can marvel that they escaped mainstream attention for so long and rejoice that they’re back in print.

THE RIM OF MORNING
By William Sloane
New York Review Books. 464 pp. Paperback, $18.95

Originally published on WashingtonPost.com.

Close encounters with feminist science fiction in 'Sisters of the Revolution'

Mary Shelley usually gets mad props as the progenitor of feminist science fiction for her 1818 "Frankenstein; or, the Modern Prometheus." But pride of place arguably goes to Mary Cavendish, who in 1668 penned a feminist utopian novel, "The Description of a New World, Called the Blazing-World," in response to Robert Hooke's "Micrographia," which in 1665 put microscopes on the map and coined the biological term "cell." Cavendish delved into speculation as to what might exist beneath and within the world we know, or think we know (alien life forms played a role). She was given the sobriquet "Mad Madge" for her pains.

FOR THE RECORD: Margaret Cavendish: An Aug. 9 review of "Sisters of the Revolution: A Feminist Speculative Fiction Anthology" incorrectly said 17th century author Margaret Cavendish's first name was Mary.

Nearly 300 years later, things had improved … barely. "Women are writing SCIENCE FICTION!" trumpeted the flap copy for Margaret St. Clair's 1963 novel "Sign of the Labrys." Women, it went on to say, "are conscious of the moon-pulls, the earth-tides. They possess a buried memory of humankind's obscure and ancient past which can emerge to uniquely color and flavor a novel."

Those who don't possess a buried memory of humankind's obscure and ancient past are condemned to repeat it. So thank the Goddess for "Sisters of the Revolution," a superlative new anthology of previously published feminist science fiction by female writers, edited by Ann and Jeff VanderMeer. Noted editors of numerous anthologies of speculative fiction, the VanderMeers have compiled one of the best volumes of feminist — or any other — science fiction in years. "Sisters of the Revolution" reaches back to the late 1960s and extends to 2012, with the lioness' share of tales originally published between 1980 and 2000.

There are classic, much-anthologized stories by well-known writers here. "The Screwfly Solution," a brilliant, terrifying tale of global femicide by James M. Tiptree Jr. [pseudonym for Alice Sheldon], carries even more impact in our own age of rampant violence against women than when it first appeared in 1977. An off-world feminist utopia confronts its own destruction in "When It Changed" by Joanna Russ, whose "How to Suppress Women's Writing" was a touchstone for second-wave feminists. Ursula Le Guin is represented by "Sur," in which a group of bluestockings mount an early 20th century expedition to Antarctica. "The Evening and the Morning and the Night" by Octavia Butler explores the global effect of a fictional neurovirus, and "how much of what we do is encouraged, discouraged, or otherwise guarded by what we are genetically," as she states in her short afterword to this poignant tale. Angela Carter's "The Fall River Axe Murders" follows Lizzie Borden on the sultry August morning of the day that her "Sargasso calm" notoriously erupts, suggesting motives that were ignored at the time.

But much of the pleasure in "Sisters of the Revolution" derives from encountering work by writers who aren't household names. The stories are arranged as to how they "speak to one another rather than chronological order". So Anne Richter's "The Sleep of Plants," deftly translated from the Belgian by Edward Gauvin, segues into Kelly Barnhill's dreamy and dark magical realist tale, "The Men Who Live in Trees," which slides into Hiromi Goto's "Tales From the Breast" ("You want to yell down the hall that you have a name and it isn't Breast Milk").

Readers can also compare depictions of maternal love in Kit Reed's viciously funny "The Mothers of Shark Island" and Nnedi Okorafor's "The Palm Tree Bandit," whose narrator tells her young daughter of her namesake great-grandmother's daring nocturnal exploits, and delight in riffs on such oft-told tales as Kelley Eskridge's gender-bending "And Salome Danced" and Nalo Hopkinson's creepy Bluebeard story, "The Glass Bottle Trick." And these are just a handful of the stories contained in this distaff treasure chest: Every single one is a gem.

Forty years ago, in her essay "American SF and the Other," Le Guin wryly observed: "The women's movement has made most of us conscious of the fact that SF has either totally ignored women, or presented them as squeaking dolls subject to instant rape by monsters — or old-maid scientists desexed by hypertrophy of the intellectual organs — or, at best, loyal little wives or mistresses of accomplished heroes."

There are no squeaking dolls or loyal little wives here, no old maid scientists — and if there were, woe betide anyone who took them at face value.

Sisters of the Revolution: A Feminist Speculative Fiction Anthology
Edited by Ann and Jeff VanderMeer
PM Press: 341 pp., $15.95 paper

Originally published on LATimes.com.