Guess Who?
by Philip E. High
New Worlds Science Fiction, Vol. 19, No. 56 (February 1957), 88-99.
SF short story in which High attempts to show up the military’s hard-ball pre-emptive aggression while also postulating how to deal with a ruthless species of telepathic shape-changers—an odd juxtaposition, as the latter come across as no better than the former.
Survival Course
by Philip E. High, New Worlds Science Fiction, No. 11, Vol. 38 (December 1961), 41-58.
A rare foray into first-personal narrative for High. This short story reads more naturally than much of his writing, and the SF idea is as imaginative as ever—albeit with little on show beyond the portrayal of concept (a uniquely hostile lifeform).
Squeeze Box
by Philip E. High (New Worlds, March 1959)
reprinted in “Isaac Asimov’s Wonderful Worlds of Science Fiction Invasions” ed. Isaac Asimov, Martin H. Greenberg & Charles G. Waugh (Roc, 1990), 350-364.
Workmanlike prose, artless storytelling, humanity triumphing (abruptly and at extreme odds) through dint of doughty everyman qualities and British wartime fortitude recrudescing at a species-wide level. Though lacking finesse, this alien invasion short story neatly captures High’s knack for imaginative SF wish-fulfilment.
Topside
by Philip E. High
Authentic SF, No. 83 (August 1957), 58-77.
Lopsided short story which spends too long bringing its (seemingly all-male) cast out of suspended animation post-cataclysm, and not enough on their reclaiming Earth’s surface. Of interest primarily in comparison with High’s novel Sold – For a Spaceship, which does the job properly.
The Mad Metropolis
by Phillip E. High (Ace, 1966)
reprinted as “Double Illusion” (Dobson, 1970)
While the central premise remains relevant—humanity entrusting itself to an AI but installing a kill switch that sends it crazy—High’s execution is amateurish, adding layer after extraneous, unpolished layer to turn an intriguing short story idea into a flabby novel.
Reality Forbidden
by Philip E. High (Robert Hale, 1967)
A sinister, mind-rattling concept explored by the wrong author. High’s ideas are laid down seemingly as and when they occurred to him, which, even coming from the era of pulp, fails to impress. Eric Frank Russell would have made this a masterpiece.
Fugitive From Time
by Philip E. High (Hale, 1978)
High’s novels were too often marred by instalove and sparse, wince-inducing female representation. His wellspring of SF ideas, however, cannot help but fire the imagination. Fugitive From Time is a fever dream of implacable alien menace, anti-war imagery and humanity’s metamorphosic coming-of-age.
Invader on my Back
by Phililp E. High (Hale, 1968)
When it came to SF ideas, High supped from the horn of plenty. Yet his prose here is amateurish, his grammar appalling, and his depiction of women beyond cringeworthy (even for the time). An alien invasion narrative in dire need of editing.
Sold – For a Spaceship
by Philip E High (Robert Hale, 1973)
High deploys his customary optimism in having the remnants of the human race awake from suspended animation to reclaim their much-changed planet. An enjoyable helter-skelter hodgepodge of pulp SF ideas, characters and landscapes, marred by male-female interactions that are early Hollywood cringeworthy.
Butterfly Planet
by Philip E. High (Hale, 1971)
High’s prose is slapdash, his grammar shaky and his punctuation atrocious. His wealth of SF ideas offers some compensation but these gush forth as if from a newly struck oil well. Only having laid claim does High refine them (in subsequent novels).