In February of 1966, audiences got their first look at the finished product that started with the dark, violent Matt Helm novels of Donald Hamilton and ended up in the hands of ill-tempered producer Irving Allen and boozy Rat Packer Dean Martin. Leading up to the release of the first film in the series, The Silencers, there had been a barrage of publicity, most of it focused on the bevy of semi-clad beauties populating the film (Dean Martin himself was busy with other film projects and the launch of his very popular new TV variety show). There was little in the pre-release marketing to inspire hope in fans of Donald Hamilton’s books that this Matt Helm would bear any resemblance at all to the character of the same name in the novels. As the lights went down and the curtains parted (yes, we used to have those in movie theaters), it was time for Irving Allen and Dean Martin to deliver their idea of America’s response to James Bond.
Director-producer Irving Allen has been charitably referred to as a bit gruff, or rough around the edges. Less charitably, a bully. Even less charitably, a complete asshole. Working his way from junior editor up through the ranks, he eventually carved out a pretty successful if low-key career as the producer or director of a number of shorts, including the Academy Award winning Climbing the Matterhorn. Wanting more from his career though, he partnered with another struggling producer, Brit Albert “Cubby” Broccoli, to form Warwick Films. Based out of England so they could take advantage of lucrative tax breaks, Warwick made a number of successful “boy’s own adventure” style films that allowed Allen to indulge his taste for costumed mini-epics and Broccoli a chance to make a name for himself with the help of his mercurial but close friend and partner.
“I was taking a martini across the room…”
If that line, the first sentence in the first Matt Helm novel by Donald Hamilton, had been the only sentence in the book, then there would have been very little stylistic conflict between the Matt Helm of the books and the incarnation of the character that eventually fond its way onto movie screens. Of course, a single sentence doesn’t exactly make for a great novel, and we soon learn that Matt Helm is taking the martini across the room to his wife during a dull suburban cocktail party. From there, things get a lot darker and more violent.
A bit of a unique Frolic Afield this round, as I post an update about something I wrote for a different site and mention that I will now also be writing regularly for that same site. Many of you already know The Cultural Gutter (if you don’t, you should). I have written for them as a guest once before, and Gutter editor Carol is also a contributor to Teleport City. I am humbled and overjoyed (and nervous) that I have become their new Science Fiction editor. I am taking up the mantle in the wake of the departure of the last Sci-fi editor, James Schellenberg, and he has set a mighty high bar in terms of thoughtfulness, quality, and a diversity of topics. I intend to turn my corner into a freaky space cocktail lounge.
My first official article is up now: At Play On the Planet of Men, about science fiction author Lois McMaster Bujold, her novel Ethan of Athos, and the way science fiction deals (poorly, often) with female, LGBT, and minority characters, creators, and fans. Give it a read, and I’ll see you over at the Gutter.
I can’t remember exactly how it was I stumbled across the first in Gail Carriger’s Parasol Protectorate series. It was most likely a title dropped in passing by Veronica Belmont on the Sword and Laser podcast, coupled with the book then appearing on a Goodreads list of the best steampunk books. So I guess I take that first sentence back. Apparently, I remember exactly how I first heard of the book. Let’s move on, shall we? Anyway, it was a book well worth stumbling onto, and since finishing it, I’ve become a huge fan of the series and its author. The blend of supernatural shenanigans, romance, adventure, steampunk, and dandy vampires all wrapped up in a Victorian comedy of manners style tale was exactly the sort of breezy — but not unsubstantial — book for which I’d been hoping. Needless to say but here I am about to say it anyway, I was pretty excited to move on to the second book.
I read a lot, but that reading happens only in a few specific genres. Predictable ones if you’ve read anything on Teleport City — science fiction mostly, with a tiny smattering of fantasy, and a healthy dose of non-fiction ranging from military history, travelogues, and anything where Teddy Roosevelt punches out a rhinoceros and gets malaria while exploring some remote niche of the globe. Perhaps somewhat surprisingly, given my fondness for horror films, is that I read almost no horror fiction at all. I don’t know why this has traditionally been the case. What I read in the past just didn’t click with me. I mean, there was some Clive Barker, sure. Everyone in the eighties read Clive Barker. But the Barker I liked skewed much more toward the fantastic than actual horror — Weaveworld, The Great and Secret Show, Everville, and Imajica.
Dune was one among many books/series I read in high school or college and remember almost nothing about. At this point, most of what I remember about Frank Herbert’s genre classic probably comes from the David Lynch film that me and ten other people in the world actually like. And as for the subsequent books — I don’t know. There was something about some kids, right? And Duncan Idaho with metal eyeballs? Yep, that’s about the limit of my memory, which I think sufficiently qualifies me as having not read Dune even though I’ve read Dune. So I decided that it was time to revisit the series, especially since, regardless of my recollection or lack of, I never finished the series. But, of course, I figured that if I was going to read/re-read Dune, I was going to reread all of it. And that meant starting at the narrative’s chronological beginning — in other words, starting with the books written by Frank’s son, Brian, and his partner-in-crime, Kevin Anderson.
Cordelia’s Honor is an omnibus that collects two novels of the “Vorkosigan Saga” together under one cover. The first, Shards of Honor, is straight up space opera, telling the story of Cordelia, the middle aged (finally!) captain of a science vessel. While exploring a planet, her small group of scientist-soldiers find themselves under attack by soldiers from the planet Barrayar, known for their fanatic commitment to all things military. It turns out that the attack on Cordelia and her people was nothing but a ruse to cover a politically motivated mutiny among the Barrayan officers. Their captain, long a thorn in the side of many due to his commitment to being honest and honorable, has been left for dead along with the remnants of Cordelia’s expeditionary force — which consist of Cordelia and one other officer, irreparably crippled by a Barrayan nerve disrupter.
Like most New Yorker’s I read a lot. This is a function of having a daily commute between Sheepshead Bay in Brooklyn and the East Village in Manhattan, leaving me with a half hour or more, twice daily, with little to do other than sit on the train and read. I don’t tend to select especially challenging material for the ride. It simply isn’t an environment that lends itself to such. But a good espionage book, some non-fiction, a comic book — stuff like that. Recently, as I’ve mentioned previously, I started exploring the world of science fiction books from the 70s, 80s, and a bit of the 90s. Some of them were books I’d read before and wanted to reacquaint myself with. Most are things that I completely missed, having been largely unconnected to any sort of conduit that would have clued me in to such things. I have no idea what I was doing most of my life.
In the early 1990s, I read Neuromancer. I read it enthusiastically, devoured every word , and fell in love not so much with the story, which was good, but with William Gibson’s razor-sharp acumen with the written word, with his style, and above all, with his ability to articulately describe sensations and scenes in ways no one had ever thought of, and yet made absolute and perfect sense and conveyed exactly certain feelings and visions that could not, it would seem, ever have been described any other way. At least not effectively. And yet, despite my unbridled passion for the book, when I started talking about it to someone a few months ago during one of those late-night sessions where conversation devolves into fuzzy reminiscence about setting motherboard jumpers and using VAX terminals, I discovered that all I had were vague impressions. Besides the names of a couple characters and a thing about spacefarin’ Rastafarians, I remembered absolutely nothing about the book.