“Dogstar Man” by Nancy Willard. Copyright © 1991 by Nancy Willard. First published in Full Spectrum 3, edited by Lou Aronica, Amy Stout, and Betsy Mitchell; Doubleday Foundation. Reprinted by permission of Bantam, Doubleday, Dell Publishing Group Inc.
“Persistence of Memory” by Joanne Greenberg. Copyright © 1991 by Joanne Greenberg. From With the Snow Queen by Joanne Greenberg. Reprinted by permission of Little, Brown & Company, in association with Arcade Books. ’
“You’ll Never Eat Lunch on This Continent Again” by Adam Gopnik. Copyright © 1991 by Adam Gopnik. Originally in The New Yorker, May 27, 1991 issue. All rights reserved. Reprinted by permission of the author.
"The Glamour" by Thomas Ligotti. Copyright © 1991 by Thomas Ligotti. First published in Grim-scribe; Carroll & Graf Publishers. Reprinted by permission of the author.
“The Peony Lantern” by Kara Dalkey. Copyright © 1991 by Kara Dalkey. First published in Pulphouse Winter 1991 issue. Reprinted by permission of the author.
"To Be a Hero" by Nancy Springer. Copyright © 1991 by Nancy Springer. First published in Weird Tales, Fall 1991 issue. Reprinted by permission of the author.
“The Same in Any Language” by Ramsey Campbell. Copyright © 1991 by Ramsey Campbell. First published in Weird Tales, Summer 1991 issue. Reprinted by permission of the author.
Teratisms by Kathe Koja. Copyright © 1991 by Kathe Koja. First published in A Whisper of Blood, edited by Ellen Datlow; William Morrow and Co. Reprinted by permission of the author’s agents, Scott Meredith Literary Agency, Inc., 845 Third Avenue, New York, NY 10022.
“The Life of a Poet” by Kobo Abe. Copyright © 1991 by Kobo Abe. First English publication in Beyond the Curve; Kodansha International. Reprinted by permission of Kodansha International, Ltd.
"The Witch of Wulton Falls” by Gloria Ericson. Copyright © 1964 by Gloria Ericson. First published m Alfred Hitchcock’s Mystery Magazine. Reprinted by permission of the author.
“Home by the Sea” by Pat Cadigan. Copyright © 1991 by Pat Cadigan. First published in A Whisper of Blood, edited by Ellen Datlow; William Morrow and Co. Reprinted by permission of the author.
“Pish, Posh, Said Hieronymus Bosch” by Nancy Willard. Copyright © 1991 by Nancy Willard. First published in Pish, Posh, Said Hieronymus Bosch; Harcourt, Brace, Jovanovich. Reprinted by permission of Harcourt, Brace, Jovanovich.
“The Ash of Memory, the Dust of Desire” by Poppy Z. Brite. Copyright © 1991 by Poppy Z. Brite. First published in Dead End: City Limits, edited by Paul F. Olson and David B. Silva; St Martin’s Press. Reprinted by permission of the author. ’
“The Pavilion of Frozen Women” by S. P. Somtow. Copyright © 1991 by S. P. Somtow First published in Cold Shocks, edited by Tim Sullivan; Avon Books. Reprinted by permission of the author.
“Moon Songs” by Carol Emshwiller. Copyright © 1991 by Carol Emshwiller. First published in The Start of the End of It All; Mercury House. Reprinted by permission of the author.
“The Afternoon of June 8, 1991” by Ian Frazier. Copyright © 1991 by Ian Frazier. Originally in The New Yorker, August 19, 1991 issue. All rights reserved. Reprinted by permission of the author.
“Gwydion and the Dragon” by C. J. Cherryh. From Once Upon a Time, edited by Lester del Ray and Risa Kessler. Copyright © 1991 by Random House, Inc. Reprinted by permission of Ballantine Books, a division of Random House, Inc.
“A Story Must Be Held” by Jane Yolen. Copyright © 1991 by Jane Yolen. First published in Colors of a New Day: Writing for South Africa, edited by Sarah LeFanu and Stephen Hayward; Pantheon. Reprinted by permission of the author and the author’s agents, Curtis Brown, Ltd.
“The Ogre’s Wife” by Pierrette Fleutiaux. English translation copyright © 1991 by Leigh Hafrey. First published in English in Grand Street #37. Reprinted by permission of Editions Gallimard and Leigh Hafrey.
Acknowledgments
Many thanks to all the publishers, editors, writers, artists, booksellers, librarians and readers who sent material and recommended favorite titles; and to Locus, Library Journal and Folk Roots magazines, which are invaluable reference sources. (Anyone wishing to recommend stories, music or art published in 1992 can do so October-December do The Endicott Studio, 781 South Calle Escondido, Tucson, AZ 85748.)
Special thanks to the Tucson and Chagford public library staffs, the Book Mark bookstore and Tucson’s Book Arts Gallery; to Robert Gould and Charles de Lint for music recommendations; to Lawrence Schimel and Jane Yolen for story recommendations; to Beth Mea-cham, Tappan King, Robin Hardy and Ellen Steiber; to Rob Killheffer at Omni; and in particular to our editor Gordon Van Gelder, our packager Jim Frenkel, our cover artist Tom Canty, to Editorial Assistant Brian McDonald, and my hard-working co-editor and friend Ellen Datlow.
I would like to thank Robert Killheffer, Gordon Van Gelder, Lisa Kahlden, Merrilee Heifetz, Keith Ferrell, Linda Marotta, Mike Baker, Matthew Bialer, and Jim Frenkel for all their help and encouragement. Also, a special thank-you to Tom Canty and Terri Windling. Finally, I appreciate all the book publishers and magazine editors who sent material for 1991.
(Please note: It’s difficult to cover all nongenre sources of short horror, so should readers see a story or poem from such a source, I’d appreciate their bringing it to my attention. Drop me a line c/o Omni Magazine, 1965 Broadway, New York, NY 10023.)
I’d like to acknowledge Charles N. Brown’s Locus magazine (Locus Publications, P.O. Box 13305, Oakland, CA 94661; $48.00 for a one-year, first-class subscription [12 issues], $35.00 second class) as an invaluable reference source throughout the Summation; and Andrew I. Porter’s Science Fiction Chronicle (S.F.C., P.O. Box 2730, Brooklyn, NY 112020056; $36.00 for a one-year, first-class subscription [12 issues], $30.00 second class), also an invaluable reference source throughout.
The packager would like to thank Catherine Rockwood and Ross Alvord for their help in making this book possible.
Summation 1991: Fantasy
Terri Windling
“Creative imagination is more than mere invention. It is that power which creates, out of abstractions, life. It goes to the heart of the unseen, and puts that which is so mysteriously hidden from ordinary mortals into the clear light of their understanding, or at least of their partial understanding. It is more true, perhaps, of writers of fantasy than of any other writers except poets that they struggle with the inexpressible. According to their varying capacities, they are able to evoke ideas and clothe them in symbols, allegory, and dream.”
In this book, it has been our happy task to gather together the works of writers whose capacity to “evoke ideas and clothe them in symbols, allegory and dream” is great indeed. These works are gathered from far and wide: literary reviews and pulp magazines, mainstream fiction collections and genre anthologies, children’s literature and foreign works in translation—for fantasy literature is a vast field that spills far beyond the confines of the adult fantasy genre created (as a marketing tool) by modern publishers. Fantasy fiction is as old as the first stories told and written down, as old as its mythic and folkloric bones. It is a field that is as literary as the works of its most eloquent practitioners (Spenser’s Faerie Queen, Shakespeare’s A Midsummer Night’s Dream, William Morris’s The Defense of Guinevere, James Thurber’s The Thirteen Clocks) and at the same time as crassly commercial as a lurid paperback with a big-breasted woman swooning at the feet of a muscle-bound swordsman.