Kate Wilhelm’s first short story, “The Pint-Sized Genie” was published in Fantastic Stories in 1956. Her first novel, MORE BITTER THAN DEATH, a mystery, was published in 1963. Over the span of her career, her writing has crossed over the genres of science fiction, speculative fiction, fantasy and magical realism, psychological suspense, mimetic, comic, and family sagas, a multimedia stage production, and radio plays. She returned to writing mysteries in 1990 with the acclaimed Charlie Meiklejohn and Constance Leidl Mysteries and the Barbara Holloway series of legal thrillers.
Wilhelm’s works have been adapted for television and movies in numerous countries; her novels and stories have been translated to more than a dozen languages. She has contributed to Quark, Orbit, Magazine of Fantasy and ScienceFiction, Locus, Amazing Stories, Asimov’s Science Fiction, Ellery Queen’s Mystery Magazine, Fantastic, Omni, Alfred Hitchcock’s Mystery Magazine, Redbook, and Cosmopolitan.
Kate Wilhelm is the widow of acclaimed science fiction author and editor, Damon Knight (1922-2002), with whom she founded the Clarion Writers’ Workshop and the Milford Writers’ Conference, described in her 2005 non-fiction work, STORYTELLER. They lectured together at universities across three continents; Kate has continued to offer interviews, talks, and monthly workshops.
Kate Wilhelm has received two Hugo awards, three Nebulas, as well as Jupiter, Locus, Spotted Owl, Prix Apollo, Kristen Lohman awards, among others. She was inducted into the Science Fiction Hall of Fame in 2003. In 2009, Kate was the recipient of one of the first Solstice Awards presented by the Science Fiction Writers of America (SFWA) in recognition of her contributions to the field of science fiction.
Kate’s highly popular Barbara Holloway mysteries, set in Eugene, Oregon, opened with Death Qualified in 1990. Mirror, Mirror, released in 2017, is the series’ 14th novel.
Wow. This will go on my short list of Kate Wilhelm's best work. That is saying a lot. Is it science fiction? Not really. It would have made a great Twilight Zone episode. I will think about this story for days. I would put this up against Harlan Ellison's best short works.
I love some of Kate Wilhem's work, but there is such a wide range... this was a very short piece, rather sad, but sweet. I wouldn't call it strong, but interesting.
A powerful and compelling novella that manages to be profound and easy to read with a grace and style that is uniquely Wilhelm’s. This one moves fast, but is no less tender or thoughtful for that. And I have to remark upon where and when this was published: 1992, pre-internet but not pre-surveillance and just as concerned with civil rights and public health as we are today. There is a political charge to this little big story that can’t be ignored. Naming the Flowers is as much of a social commentary as it wants to be, choosing instead to be instructional or perhaps illuminating. What is love or hope, and how do we share that and be that when there are so many unseen and seen forces that would snuff these out without ever naming them?