Beaker's Dozen | |||||||||||
Nancy Kress | |||||||||||
Tor Books, 352 pages | |||||||||||
|
A review by Lisa DuMond
Anyone who has read her Beggars series or her latest novel, Maximum Light,
knows to expect the best from Kress. Her short fiction appears in only the upper echelon of
science fiction and fantasy magazines and anthologies. Spanning 1993-1997, these 13
stories represent a sampling of the finest of her work.
As to be expected, many of the tales in Beaker's Dozen deal with the promise and the
possible consequences of genetic engineering. "Beggars In Spain" will be familiar to many
readers. It did, after all, take the Hugo and the Nebula for best novella, and provide
the springboard for the Beggars cycle. Even if you've read it before, read
it again; "Beggars In Spain" and the wrenching "Dancing On Air" offer perhaps the most
sobering look at the future of this stampeding science.
In addition, "Dancing On Air" takes an unflinching look at the unrealistic and toxic
demands of professional ballet on the mind and body. It is a lofty pursuit that claims a
sobering number of lives every year. Kress allows readers to see the reasons behind the
single-minded drive of dancers and the toll of the dream.
There are twisted fairy tales and social commentary, laughs and tears. Nothing you
wouldn't expect of Kress. No, the unexpected would come in "Fault Lines." Yes, it has elements
of science fiction, but it is a surprise nonetheless. Who knew Kress could make
the jump to mystery/detective fiction with such ease? Gene Shaunessy, ex-cop and
multi-dimensional human being, is a character strong and intriguing enough to carry his own series.
If she ever decided to switch genres, Kress would pull me irresistibly back to the mystery shelves.
What, exactly, distinguishes Nancy Kress' fiction is difficult to pin down. It may be
the sheer intelligence and curiosity behind the work. It may be the relevance of the subject matter.
It may be the seamless storytelling. Just possibly, it is the instant attraction of her
fiction. There is no period of "getting into" her stories as with most fiction;
the reader is ensconced and involved form the first paragraph. And, that attraction
never wanes throughout the narrative, regardless of the length.
From the brief "Margin Of Error" to the novella, "Beggars In Spain," it is a hypnotism of
words, with the hand clap of the final period. But the suggestions made remain, to make our
lives, and ourselves, more interesting.
Lisa DuMond writes science fiction and humour. She co-authored the 45th anniversary issue cover of MAD Magazine. Previews of her latest, as yet unpublished, novel are available at Hades Online. |
![]() ![]() ![]() ![]() ![]() |
If you find any errors, typos or anything else worth mentioning,
please send it to editor@sfsite.com.
Copyright © 1996-2014 SF Site All Rights Reserved Worldwide