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VECTOR VECTOR the Critical Journal O F the BSFA E D I T O R : KEVIN 94ITH Contents April 1981 10 Cleves C a Irt, St Marks H Ill, Surbiton, Surrey, KT6 4PS

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VECTOR VECTOR the Critical Journal O F the BSFA E D I T O R : KEVIN 94ITH Contents April 1981 10 Cleves C a Irt, St Marks H Ill, Surbiton, Surrey, KT6 4PS VECTOR VECTOR The Critical Journal o f the BSFA E D I T O R : KEVIN 94ITH Contents April 1981 10 Cleves C a irt, St Marks H ill, Surbiton, Surrey, KT6 4PS. REVIEWS EDITOR: JOSEPH NICHOLAS EDITORIAL Roan 9, 94 St George's Square, Pim lico, London, SW 1. Towards A C ritic a l Standard (Part III) Kevin Smith 4 THE SHAPE OF THINGS TO COME Joseph Nicholas 6 P r in te d by th e BSFA. YOU CAN GET THERI FR( W HERE Arnold Akien 14 Thanks are due t o John and Eve H arvey, who a c t u a lly d id th e p r in tin g work. STANDP01N1 f-unk SF The BSFA p r in tin g s e r v ic e i s a v a ila b le John A Hobson 17 t o BSFA members. P le a s e c o n ta c t John and S cien tifactio n Eve fo r d e t a i l s . William Bains 18 Science F iction Art R G A Wilkinson 19 John & Eve Harvey, 55 Bianchiand Road, Morden, Surrey, SM4 5NE. SAVING THE TALE David Wingrove 21 BOOK REVIEWS Cy Chauvin, Mary Gentle 30 ADVERTISING R ATES Roz Kaveney, Dave Langford Back cov er £40 A ll a d v e r t is in g c o r r e s p im k h iv t-, Chris Morgan, Joseph Nicholas I n t e r io r - f u l l page £30 th e e d it o r . Andy Sawyer, Ian Watson h a lf page £20 Ian Williams q t r . page £10 LETTERS Iain R Byers, Maxim Jakubowski 43 A ll copy A4 or d i v i s i o n fo r David V Lewis, Simon Bostock r e d u c tio n t o A5. Copy t o be Andrew Sutherland, Chuck Connor b la ck on w h ite , cam era rea d y . David Penn, Arnold Akien P le a se le a v e a h a l f in c h mar­ Chris P rie s t, Dorothy Davies g in a l l round. Q uotes w i l l be William Bains, Andy Sawyer g iv e n fo r s p e c i a l req u ir e m e n ts. Ian Goffin, Mark Greener Dell Books, Malcolm Edwards VECTOR i s p u b lish e d fo u r tim e s a year — in A p r il, Ju n e, O ctober and Derombor by COVER ART John MacFarlane The B r it i s h S c ie n c e F ic t io n A s s o c ia t io n L im ited . (by permission o f Cretinfandom) ISSN 0505-0448 AU contents copyright (c) 1981 individual contributors Membership o f THE BRITISH SCIENCE FICTION ASSOCIATION coni m H i . h i j ..» y. .< i r>» T H I S I S S U E t h i s alm ost i n s i g n i f i c a n t sum you r e c e iv e 6 m a ilin g s par y»ai , < < >nt 4 I :>i ug MA Th I X , PAPERBACK INFERNO and e it h e r FOCUS or VECTOR. MA'IRIX to n ta i in nrwn and o | . is almost th e s c ie n c e f i c t i o n w o r ld , PAPERBACK INI4* ER NO re v ie w s th e newly pub I 1 p ap er­ as big as the big, bumper, celebration issue 100. This is due back b o o k s, FOCUS i s about w r itin g SF, and th e con ten t ■ o f VECTOR am a d eq u a tely in p art to Joseph Nicholas; h is a r tic le "The Shape Of Things To Cane" is a su d em onstrated in th e r e s t o f t h i s i s s u e . Membership a ls o g iv e s you a< < tiau to the b stan tial one which has nothing to do with H G Wells, being ra th e r concerned w v a r io u s BSFA s e r v i c e s , th e new m onthly m eetin g s in London, and th^ wide w orld o f ith the future of SF. Joe outlines four trends th at are now noticeable in s c ie n c e f i c t i o n . SF and expresses considerable concern about three of them. David Wingrove has also w ritten a major a r tic le . "Saving The Tale" asks the question, 'Can A ll m em bership e n q u ir ie s sh ou ld be se n t t o th e Mendxir ehi p S e c r e ta r y : there be a c r itic a l standard o f science fic tio n ? ' and c ite s some c r itic s not normally found in an SF magazine. Arnold A kien's piece, "You Can Get There Sandy Brown, 18 Gordon T errace, B lantyre, Lanarkshire, G72 9NA. Fran Here", was w ritten as a le tte r , with "Standpoint" overtones, but when I typed i t out i t was too long for th a t, and so became a short a r tic le a ll by Other e n q u ir ie s and g e n e r a l co rresp on d en ce about th e BSFA sh ou ld be s e n t t o th e i ts e lf . I t considers 'ghetto lite r a tu r e '. The issue is f ille d out with Chairman (we have t o fin d som ething fo r him t o d o ) : three rath er good "Standpoint" a rtic le s (I need some more for next is s u e ), Alan Dorey, 64 H ertford Avenue, Kenton, Harrow, Middlesex. the book reviews (I had more of these than room for them, but they w ill appear) and an encouraging number of le tte r s . Not to mention an e d ito ria l. The squibs th a t f i l l the pages are taken, th is issue, from Robert H einlein's The British Science fiction Association The Number Of The Beast. "I think you're cute to o ," Zebbie answered, grabbed me by both shoulders, dragged me over the table, and kissed me hard. Our teeth grated and my nipples went spung.' 3 arising because of the p lo t. Examples of dramatic novels are Emily Bronte’s I Editorial Towards a Critical Standard Wuthering Heights and anything by Jane Austen. The fourth type of novel is the 'chronicle' — a novel such as War And Peace in Partin which the action is dramatic (in the sense above) but the arbitrariness of nature its e lf is taken into account — the "cycle of b irth and growth, death and birth well as the characters' changing, the background also changes. Flynn said th is about plot: again". As In Focus 2 (Spring 1980) Randal Places are not ju st lived in , as in novels of character or dramatic novels; they I‘d realised there were two fundamental types of plot in the universe. have been lived in, and undoubtedly w ill be lived in as well. There was the plot boldly and artificially imposed from abo\e, the way Poul Anderson does it. He Invents a few names, John, Tom and Jane, and The fifth type is the 'period novel', which is sim ilar in appearance to the then makes them do things, like chase after treasures etc. Or there was chronicle, but d iffers in a fundamental respect: the chronicle is universal in the plot that grew of itself, starting from the imaginative creation or its application; the period novel is concerned only with its own time and society. arrival of a life-given character and the results of his subsequent inter­ In a chronicle, the background changes, but i t is the change not the background actions with the physical and social environment, and with his own emo­ that is significant; in a period novel the significant aspect is the background. tional nature. This was organic plot. Exanples are Bennett's Clayhanger trilo g y , Galsworthy's The Forsyte Saga and W ells's The New Macchiavelli. and made i t quite clear that he thought 'organic' plot was the only one worth cluding a bothering with. Certainly a lo t of people would agree with him, in at most SF (as, eat deal of sympathy with, When we look at SF in terms of these five ypes i t is evident th number of Vector reviewers. I t 's an opinion I have a gr l of action. Some novels of th, because of the number of great indeed, most fiction) is of the f ir s t type, the nove but one which I can 't wholeheartedly agree wi intended to be; and none of them are - Henry Fielding's Tan Jones, for action can be enjoyable; a ll of them are novels which don't have 'organic' plot - A large portion of the remainder of SF f its into the antithesis of 'organic'.
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