infinities by Kristine Kathryn Rusch, Scott Nicholson, Garry Kilworth, Eric Brown, John Grant, Anna Tambour, Kaitlin Queen, Iain Rowan, Linda Nagata, Keith Brooke

to borrow, and soon I'd amassed a stack of half a dozen of them – as many as my university library card entitled me to borrow at any one time. Clutching them to me as if I were a small child who'd just discovered a trove of chocolates and was making good his escape while the coast was clear with as many as he could carry, I checked them out and made my way back to the apartment.
    Now here's a curious thing. I cannot for the life of me remember what those books actually were – an omission from memory as grievous as if I'd forgotten the name of the woman to whom I'd lost my virginity. (No, not to Glenda Doberman.) But certainly I discovered that they had the property of banishing the sounds of the fish market and the shrieking kids and Mrs. Bellis's soap operas. I got home in the late afternoon and didn't stop reading until I fell asleep face-first into the third of the books I'd started, my last memory before unconsciousness hit me and the words on the page receded wildly from my vision being that a lot of people seemed to be laughing very loudly on the other side of the wall at the quips of a chat-show host.
    The next day I had to drag myself to the laboratory. It had to be faced that, overnight, veterinary science had transformed from an interest – albeit by now only a marginal one – into a chore. I did a few studies of the larynx of a dog, wrote a couple of paragraphs of my dissertation, stared out the window a lot. I'd brought the two cinema books I'd finished last night with me, and at lunchtime I almost sprinted to the library – not just to exchange them for two more but also for an hour's uninterrupted browsing through the pages of Brunner's Companion to the Cinema .
    Lenny , Leo the Last , The Leopard , The Leopard Man , Lepke , A Lesson in Love ...
    It was only then that it occurred to me that, rather than just leafing through the book, I might be more profitably occupied using it to find out something about the specific genre of movies with which I'd fallen in love – those old World War II movies I saw at the Rupolo. Accordingly, I turned back through the pages to the Gs, hunting for The Great Escape .
    I found The Great Diamond Robbery – a minor comedy thriller, apparently – and Great Expectations , but clearly Mr. Brunner thought The Great Escape was beneath his notice. I wasn't unduly surprised: most of the Rupolo's Monday-afternoon presentations were obviously very obscure and very aged B-movies, and any reference work has to draw the line somewhere. Maybe I'd have better luck with Reach for the Sky .
    I didn't. Nor with The Bridge on the River Kwai , or The Wooden Horse , or Ice Cold in Alex , or The Colditz Story , or ...
    In fact, Mr. Brunner had ignored all of the war movies whose titles I could offhand recall.
    I shut the book and stared at its cover in a state of complete incredulity. It was reasonable that some – possibly most – of these undistinguished movies might have been omitted for reasons of space, but all of them? It didn't seem feasible.
    And it was then that something which had for months now been subliminally troubling me about my weekly forays to the Rupolo came hammering irresistibly into the forefront of my conscious – that disturbing pattern that evidenced itself in the Monday-afternoon movies as a whole. In items like The Great Escape and The Wooden Horse I'd seen plucky British prisoners-of-war outwitting rather stupid Germans and gaining their freedom. There were battle movies in which the forces of the Axis got the crap beaten or bombed out of them by the Allies. The Brits or the Americans had almost always been portrayed as brave heroes; the Germans and the Japs almost always as cowards or villains or both – or just as expendable non-people who could be mown down in their hundreds and thousands without the smallest tear being shed. Moreover, although it hadn't been stated, these movies' stories had seemed implicitly part of a larger story in which the Axis had