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Rating: 
Summary: A good bet for solid science-fiction stories
Review: As with most anthologies, there are some hits and misses depending on the reader's personal taste. Easily recognizable SF conventions are recognizable in some, but a new, intriguing spin is put on them to put things in a new light. Some stories, however, are just bizarre. "Thirteen Views of a Cardboard City" by William Gibson is just that, thirteen views of a city at different angles and locations. My favorites were "Petting Zoo" by Gene Wolfe, "The Firefly Tree" by Jack Williamson, "The Nostalginauts' by S.N. Dyer, "The Voice" by Gregory Benford, "Mr. Pale" by Ray Bradbury, and "Great Western" by Kim Newman. There were other good ones, but these stand out.
Rating:
Summary: A Good Batch of Stories
Review: The one piece of dross comes from an unexpected source: William Gibson and his story "Thirteen Views of a Cardboard City". It's a minute, camera-eye examination of a cardboard structure in a Tokyo subway and obviously inspired by J.G. Ballard's work. I detected no point to the series of descriptions, or, indeed, anything of a fantastical or science fictional nature. Nancy Kress' "Always True to Thee, in My Fashion" gives us a witty satire with a world where the seasonal variations of fashion cover not only clothes but also your pharmaceutically modulated attitudes.. The caged dinosaur of Gene Wolfe's "Petting Zoo" represents not only the lost childhood of the story's protagonist but a vitality lost from the race of man. Tom Cool gives us "Universal Emulators" with its future of economic hypercompetition that has created a black market for those who impersonate, in every way, the few employed professionals. In effect, the emulators grant them an extra set of hands. Its plot and characters would have done Roger Zelazny proud. The voice of past science fiction writers echos through many of the anthology's best stories. Jack London's _The Sea Wolf_ provides the inspiration for Michael Swanwick's "The Wisdom of Old Earth". Its heroine realizes, despite whatever dangers she overcomes guiding posthumans through the Pennsylvania's jungles, she will never bootstrap herself into being their equal. H.G. Wells looms over Robert Silverberg's "Beauty in the Night". Its child hero undertakes the first successful assassination of the brutal aliens that have occupied Earth, but his reasons have more to do with his oppressive father rather than the aliens' behavior. John C. Wright's "Guest Law" is a welcome return to the flashy decadence of Cordwainer Smith's fiction. Its hero, a slave-engineer, watches in disgust as his aristocratic overlords corrupt the customary requirements of hospitality to justify piracy in deep space. Gregory Benford's "The Voice" responds to Ray Bradbury's _Fahrenheit 451_. Here the convenience of implanted intelligent agents, hooked up to a computer network, led to literacy fading, and not a repressive regime of firemen. Benford agrees with Bradbury about literacy's value but also undercuts him on the supremacy of writing as a means of communication. James Patrick Kelly and Brian Stableford tackle similar themes in two excellent tales about children, the needs they fufill for parents, and the possiblity of replacing them with surrogates. The heroine of Kelly's "Itsy Bitsy Spider", estranged from her actor father for 23 ages, is horrified to discover that her enfeebled father's legal guardian is also equipped to simulate her as a child. Stableford's "The Pipes of Pan" has a future recovering from ecological catastrophe where real children are not allowed. However, parents can have children genetically altered to never age and reproduce. But those children suddenly start growing up. Jack Williamson's "The Firefly Tree" is a Bradbury-like tale of aliens who travel far but whose invitation to join an intergalactice republic goes no further than a farm boy. Though I usually hate stories narrated by smart-alecky teenagers, I didn't mind S.N. Dyer's "The Nostalginauts" with its problem of time travelers going back 25 years to reminisce about their younger selves. The technological speculations of Greg Egan's "Yeyuka" are interesting. However, I didn't find the political criticisms inherent in this story of First World companies exploiting the misery of a Third World cancer epidemic that convincing or plausible, and they seemed a bit of a repeat of those in his novel _Distress_. While Terry Bisson's "An Office Romance" was fun and poked fun at, in passing, Microsoft and those who find the computer screen a satisfying substitute for the world outside, its romance, in the bowels of a computer system, reminded me of _Tron_ in that both stories borrowed computer terminology to create a cyberverse that only superficially resembles the real thing. Inspiring two works in this book, Ray Bradbury also puts in a direct appearance with "Mr. Pale". As to be expected with Bradbury, its superficial science fiction trappings clothe a fantasy tale of a doctor encountering a desperate Death aboard a spaceship. The abrupt ending of Tom Purdom's "Canary Land" is at odds with what, at first, seems a tale of corporate espionage on the moon. However, Purdom's real story centers around the bitter experiences of an American immigrant to an Asian dominated lunar society and how his life replays the themes of past immigrants. R. Garcia y Robertson's "Fair Verona" features a virtual-reality obsessed hunting guide who discovers that the joys of his Renaissance Verona might not live up to rescuing a real damsel in danger of being murdered. Kim Newman's "Great Western" has some problems. Rather than just examine the real effects of an alteration to past events, it seeks to gain some signifcance by throwing together a mishmash of non-contemporenous events and cultural icons. Here we have mad cow disease, British political disputes about privatization, and the aftermath of a war fought to free England's serfs. Newman makes the whole thing readable by using the plot of the movie and novel _Shane_, but it doesn't say anything interesting about culture or history. Paul Levinson's "The Mendelian Lamp Case" has a great premise: a forensic scientist encountering a centuries-old battle between groups that practice genetic engineering via old practices of selective breeding. However, while the biological speculations are detailed and interesting, Levinson should have provided more details about the Amish genetic engineers and their foes. It would have been nice to know their exact motives for spreading allergies, disease, and general social unrest. Michael Moorcock's "London Bone" has plenty of interesting details about London geography and history. However, I think a little too much of the cantankerous Moorcock showed through in its complaints about British and American culture. The anthology also has a couple of humorous stories. "Turnover", by Geoffrey A. Landis centers around a real scientific question about the seemingly uniform age of Venus' craters. Katherine MacLean's puzzling, but somewhat funny, "Kiss Me" involves several questions about frogs, including what happens when you kiss them.
Rating:
Summary: Taken together the 2 yrs bests make a wonderful whole.
Review: They complement each others strengths & weakness quite well. Dozois chooses more long serious stuff while Hartwell chooses more short humorous stuff. Humor & shorts was the one area I thought Dozois' was weak, but Hartwell's covers that pretty well. To be brutally honest though this isn't quite as impressive as Dozois' usually is. There were fewer stories I hated, but also fewer that impressed me. In its defense it did a better job with the truly SHORT stories & three of that kind were by "legends" in the field. Legends meaning those respected for decades. Williamson's surprised me by being more aware of the modern world then I expect a 90 yr old be. If that's sounds insulting let me say it was more aware of the modern world then I'll probably be at 90. It was nice to see a Katherine MacLean story anywhere since her works have largely disappeared. Vintage Bradbury's still in print so it wasn't really necessary to pick one of his stories except to have a big name linked to the anthology. Bisson's story about office romance is the kind of story I usually don't like, but I was surprised to find it was one of the ones I liked best. It was a great deal more risque then the others & since some seemed Young Adult I was surprised by it. By the way the risque parts were what I meant by "kind of story I usually don't like" well that & the computer jargon was a bit heavy. The Kress, Dyer, & Purdom I enjoyed in Asimov's. Tom Cool's was also good, but that name is so goofy I'm guessing it has to be real. Benford's "Voice" retread old ground, but I liked it anyway. I could go on & on & rate each story, but I'll stop there. In Dozois' a story generally amazes or infuriates me, in Hartwell's I generally liked it or was indifferent. I didn't avoid reading some the way I do with Dozois' so I'm of a mostly mixed opinion. Nevertheless if Rusch is coming out with one I think I'd probably stop buying this one before I'd stop buying Dozois'. One last thing "Turnover" by Landis was neat in that it talked about a scientific debate I'd just recently heard about, but I think he wrote "Ouroboros" which was the best short/humorous story I'd read last year. I hope it's in Dozois', but his isn't really good with short humorous stories. Oh well I still have the issue of Asimov's it's in I was just hoping it would get recognition. I just mentioned that because some reviewer was saying Landis wrote more worthy stories that year, but I thought I understood the choice since he was trying to counter-balance Dozois'lack of short/humorous stories.
Rating:
Summary: Taken together the 2 yrs bests make a wonderful whole.
Review: They complement each others strengths & weakness quite well. Dozois chooses more long serious stuff while Hartwell chooses more short humorous stuff. Humor & shorts was the one area I thought Dozois' was weak, but Hartwell's covers that pretty well. To be brutally honest though this isn't quite as impressive as Dozois' usually is. There were fewer stories I hated, but also fewer that impressed me. In its defense it did a better job with the truly SHORT stories & three of that kind were by "legends" in the field. Legends meaning those respected for decades. Williamson's surprised me by being more aware of the modern world then I expect a 90 yr old be. If that's sounds insulting let me say it was more aware of the modern world then I'll probably be at 90. It was nice to see a Katherine MacLean story anywhere since her works have largely disappeared. Vintage Bradbury's still in print so it wasn't really necessary to pick one of his stories except to have a big name linked to the anthology. Bisson's story about office romance is the kind of story I usually don't like, but I was surprised to find it was one of the ones I liked best. It was a great deal more risque then the others & since some seemed Young Adult I was surprised by it. By the way the risque parts were what I meant by "kind of story I usually don't like" well that & the computer jargon was a bit heavy. The Kress, Dyer, & Purdom I enjoyed in Asimov's. Tom Cool's was also good, but that name is so goofy I'm guessing it has to be real. Benford's "Voice" retread old ground, but I liked it anyway. I could go on & on & rate each story, but I'll stop there. In Dozois' a story generally amazes or infuriates me, in Hartwell's I generally liked it or was indifferent. I didn't avoid reading some the way I do with Dozois' so I'm of a mostly mixed opinion. Nevertheless if Rusch is coming out with one I think I'd probably stop buying this one before I'd stop buying Dozois'. One last thing "Turnover" by Landis was neat in that it talked about a scientific debate I'd just recently heard about, but I think he wrote "Ouroboros" which was the best short/humorous story I'd read last year. I hope it's in Dozois', but his isn't really good with short humorous stories. Oh well I still have the issue of Asimov's it's in I was just hoping it would get recognition. I just mentioned that because some reviewer was saying Landis wrote more worthy stories that year, but I thought I understood the choice since he was trying to counter-balance Dozois'lack of short/humorous stories.
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