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Vol. 3 No. 6 December 2004 2004 Annual --e*I*17- (Vol. 3 No. 6) December 2004, is published and © 2004 by Earl Kemp. All rights reserved. It is produced and distributed bi-monthly through http://efanzines.com by Bill Burns in an e-edition only. Contents -- eI17 -- December 2004 …Return to sender, address unknown….9 [eI letter column], by Earl Kemp Ho! Ho! Ho!, by Earl Kemp "…My true love gave to me….," by Victor J. Banis Cherry Pink and Uncle Milty Time, by Earl Kemp A Checklist of Brandon House Library Editions, by Patrick J. Kearney Everybody Loves Milton, by Stephen J. Gertz Recollections of a Porno Photographer, by Gary Sohler Old Leather Hide, by Earl Kemp Milton Luros' Times Square Wise Guy, by Jay A. Gertzman To Bea or Not To Bea, by Victor J. Banis Whirlaway to Thrilling Wonder Stories, by Race Mathews Our favourite Race Mathews story, by Bruce R. Gillespie Ditmar Portfolio, cover by Ditmar Ditmar, Dick Jenssen, the Good Doctor, by Bruce R. Gillespie A Ditmar Life, by Martin James Ditmar Jenssen Ditmar Portfolio, by Ditmar If it weren't for pickpockets, I'd have no sex life at all. --Rodney Dangerfield THIS ISSUE OF eI is in memory of Milton and Bea Luros, their empire of Parliament News, and their many exciting and collectible products. In the world of science fiction, it is also in memory of Gregg Shaw and Tetsu Yano. # I would like to call your attention to Bruce R. Gillespie and the effort to Bring Bruce Bayside, a worthy cause to bring Gillespie from his home in Australia to the Bay Area next February for Corflu and Potlach. There is more about this effort on eFanzines.com and your donation to the cause would be greatly appreciated. # As always, everything in this issue of eI beneath my byline is part of my in-progress rough-draft memoirs. As such, I would appreciate any corrections, revisions, extensions, anecdotes, photographs, jpegs, or what have you sent to me at [email protected] and thank you in advance for all your help. Bill Burns is jefe around here. If it wasn't for him, nothing would get done. He inspires activity. He deserves some really great rewards. It is a privilege and a pleasure to have him working with me to make eI whatever it is. And also, Dave Locke continues as eI Grand Quote Master. You will find his assembled words of wisdom separating the articles throughout this issue of eI. Other than Bill Burns and Dave Locke, these are the people who made this issue of eI possible: Victor J. Banis, Merv Barrett, Robert Bloch, Robert Bonfils, Bruce Brenner, Tom Brinkman, Elaine Cochrane, Brittany Daley, Stephen J. Gertz, Jay A. Gertzman, Terry Gibbons, Bruce Gillespie, Michael Goss, Lee Harding, Elaine Kemp Harris, Tony Jacobs, Dick Jenssen (Ditmar), Bruno Kautzner, Patrick J. Kearney, Miriam Linna, Jim Linwood, Robert Lichtman, Race Mathews, Phil Stephensen-Payne, Curt Phillips, Ryan Richardson, William Rotsler, Gary Sohler, Cat Sparks, Robert Speray, Bill Thom, and Jodi Wille. A special thanks goes to Tony Jacobs for working overtime to furnish the Luros (and Greenleaf) publications cover scans scattered throughout this issue. ARTWORK: This issue of eI features original and recycled artwork by Ditmar and William Rotsler. Sex is God's joke on human beings. -- Bette Davis …Return to sender, address unknown…. 9 The Official eI Letters to the Editor Column Artwork recycled William Rotsler By Earl Kemp We get letters. Some parts of some of them are printable. Your letter of comment is most wanted via email to [email protected] or by snail mail to P.O. Box 6642, Kingman, AZ 86402-6642 and thank you. Also, please note, I observe DNQs and make arbitrary and capricious deletions from these letters in order to remain on topic. This is the official Letter Column of eI, and following are a few quotes from a few of those letters concerning the last issue of eI. All this in an effort to get you to write letters of comment to eI so you can look for them when they appear here. Thursday September 16, 2004 I admire your effort to record the important past as you are; there will be researchers in the future who will bless you for what you are doing with eI. --Richard E. Geis Saturday October 2, 2004 With all the foofraw about darker fen . A year or so ago I asked AL du Pisani if there were any none "Europeans" in Science Fiction South Africa. He said no. Not because they were minded to agree with the old policies of the former government, but none had ever asked. We may have to wait a few years for a South African curse of the Mhondoro Nkebele. --Joseph T. Major Sunday October 3, 2004 I have to say that eI is a highly entertaining piece of work. I've just managed to get through every issue in a few days and I can say that I've taken a great deal of enjoyment reading your work. Of all the many things I have to blame my Pops for, an undying awareness and admiration of Robert Bonfils is one of the most impactful. My Dad kept a large cardboard California Orange box full of old paperbacks that I wasn't to touch. I knew this because he had written on the side "Do Not Open: Bees". At the time, I'd rather anything than risk a bee sting, but I grew out of that phase and opened the afeart box by the time I was twelve. Nautipuss, Orgy of the Dead, The Day the Universe Came, Starship Intercourse, they were all there. My Dad, though I've never asked him about it, must have enjoyed the Bonfils art style so much that he constantly bought books with his covers. He also had Those Sexy Saucer People and a half dozen others, mostly by Phillip Jose Farmer, which I had taken to my room one night. These were the only ones left after my Mom tossed the box out following my Dad's excommunication from the family. The only Bonfils covered pb I managed to hold onto until my Mother's major purge of the filth in my own room a few years later was Flee the Night. I still miss them. Still, along with Dolly Parton's twin early 80s classics, 9 to 5 and The Best Little Whorehouse in Texas, those paperbacks with the Bonfils covers had a profound effect on my sexual awakening. --Chris Garcia Monday October 4, 2004 Correction to eI16 I briefly looked over the latest eI. Bonfils said he did not do the cover to Fantasex (PR212). And it's Tomas Cannizarro. Looking good. You are amazing! --Bruce Brenner # Much obliged for the link to your ezine, and to Jhim -- as he used to be known in the '60s -- for acting as an intermediary. I of course remember your name from the good old days when I was a regular at Ella Parker's penitentiary in London. At the time I never knew of your connection with the wonderful world of paperback porn. My discovery of the Olympia Press at the time got me interested in the field of erotic lit. in which I am now adrift up to my neck, as my website should demonstrate -- www.sonic.net/~patk/. I know one of your contributors, Jay Gertzman, quite well. A researcher of major importance in the field. Keep up the good work! --Pat Kearney # I failed to meet one of Earl's requests. I have a lot of photos from my five years in Viet Nam in storage, but I can't find the overall index. There are over 3,000 of them, so a random search is impossible. --Dick Eney Monday October 4, 2004 Another fascinating issue. One after another...awesome. Bruce Gillespie is being silly if he thinks I've been snubbing him at Australian worldcons because I'm miffed at that hatchet job his fanzine did on me thirty years ago. I did not, of course, agree with the critical appraisal set forth in it, but I've been the subject of hatchet jobs on and off for decades, as well as the recipient of a lot of praise, and I take it all with equanimity. Naturally I prefer the praise to the hatchetry, as most writers would, but I don't bear grudges against those who feel the need to assail my work. (Franz Rottensteiner was another who went after me with great vociferousness in that era. When I encountered him in Frankfurt in 1984 I greeted him with a grin, let him know I was aware of his many onslaughts, and offered him a handshake. He replied to the effect that he had, perhaps, been rather overzealous as a younger critic.) The real reason why I've never spoken to Bruce Gillespie at an Australian worldcon, or an American con if he's attended one, is that I don't have any idea of what he looks like and, so far as I recall, have never laid eyes on him. If he'd care to introduce himself to me the next time we're in the same place, I'll greet him civilly enough. He is, of course, all wrong in what he says about my work, but why should I take that personally? When I was a teenage fan I trashed Howard Browne and his editorship of Amazing Stories most ferociously in a fanzine, possibly Ed Wood's Journal of Science Fiction.

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