vector 61 lead-in

Contents : V ector is the official journal of In Peter Roberts' Convention report last "Either before the Eastercon (though the British science Fiction Assoc ­ issue, he referred in passing to the I can find nothing in a quick glance Lead-In 3 iation Ltd. (Chairman! John Brunner) auction saying, "A mass of fanzines were through the files) or certainly at the The Arts in Science Fiction 5 to be sold, part of the BSFA collection Con another name cropped up as the cur­ BSFA Officers: (James Blish) which had been rotting away unseen for rent holder of the FF. Kike Meara was V ioo-Chtiirmnn t Keith Freeman many years (despite the gallant efforts found and told this and arranged to go The Fannish Inquisition 15 Treasurer! Era G.T.Adams (54 Cobden of Charlie Tinstone)". This brought a over and collect the fanzines. This (Peter Roberts) Ave, Bitterns Park, Southampton swift and rather heated reply from BSFA name escapes me at the moment so I'll Book Reviews 19 302 4FT) Vice-Chairman Keith Freeman, who had in­ call him 'John' as I think that's cor­ Publicity/ Advertising! Roger G.Peyton terpreted what Peter said as a direct rect. An Interview with Peter Tate 24 attack on the BSFA. I'll ouote part of (131 Gillhurst Rd, Herborne, "I was dragged out of a meeting (or (Mark Adlard) Keith's letter: Birmingham, Bl7 81'G) bar — I can't remember which) to be told The Lail Response (letters) 28 Membership Secretary: Urn ..A. Halton "When I took over tho Vice Chairman­ that they were auctioning off the FF. I (25 Yewdale Creo, Covontry, CV2 2FF, ship there were many aspects of the BSFA went to the auction where I found that Lews Lepartment 35 Hariri oka) (Archie Mercer) that I knew little of...in a handout the true state of affairs was that Peter Company Secretary: Grnham il.Poole written just previous to my taking over Weston recognised the fanzines being got you'll see no mention of the BSFA FF. ready as being the FF. I inspected a Vector 61 is edited, typed, laid-out Vector oonto 30p. In tho O.K. it in sample of these fnz but could find no pasted-up and generally slaved over by only available on a regular banio to "On the 29th Nov I received a letter from Archie Mercer with part of a letter indication on them that they were from mernborn of the B.3.F.A. (annual sub ­ the FF (e.g. all books and magazines in Malcolm Edwards scription £1.50) from Mike Meara: 75A Harrow View the BSFA libraries and magazine chain have Harrow Rates oloewhere are: 'I was interested to hear Peter stickers and/or overprinting "BSFA" on Heston say...at Novacon that the them). Nevertheless "John" was found. Middx HA1 1RF U.S.A. & Canada: single copy 60/ U.K. BSFA fanzine foundation was in a He admitted that he'd got a lot of fanzi ­ 10 issues $5.50 bad way, or words to that effect.' nes from Charlie Winstone (who'd apparent ­ ly said he'd written to everybody in the The News Department is edited by Archie Australia: single copy 60/ "Archie's letter also said that the BSFA Council but never had a reply) but Mercer, and any material intended for 10 issues /A5.5O FF was last heard of c/o Charlie Win­ stated that the fanzines being auctioned inclusion should be sent to him at: (Australian agent: Bruce Gillespie stone and needed something doing about were not from the FF but were second, it. The same day I wrote to Mike and 21 Trenethick Parc PO Box 5195AA third and even fourth copies. In offered him custodianship of the FF — Helston Melbourne every case, he said, he'd kept the best Victoria 3001 giving him Charlie Winstone's last Cornwall copy — or best two copies in the case Australia) (known to me) address. of rare issues. Vector 61, September-October 1972 "I got a letter back from Mike on the Copyright (c) Malcolm Edwards, 1972 Necessary moral support during the 4th Dec and the next day I wrote to "Mike, it was agreed, would still go over and collect the FF from 'John'. production of this issue oame mostly Charlie Winstone. Nothing more heard of from Neil Young, tho Family, and, of that. .. With this agreed I could do no more — course, from Chrictinu Edwards. 3 it was Peter Heston's word against at Chester that the fanzines about to be $ 'John''s• auctioned apnearod to belong to the BSFA, at least in my opinion, ho evidently con­ "On the 7th June I had a letter from fronted John Muir who 'cxnlained' that Kike. He is now convinced that the FF these were only duplicates and/or part was auctioned off at Chester, BUT HASN'T of his own collection which had been sold THIRD TO SEE 'JOHN'. He also sent me to him by Charlie 'Jinstonc. the text of an editorial he's going to publish which is faintly libellous — "That's all right then — or is it? that however is of no concern here. Doesn't it sound pretty thin to you? I mean, Charlie as a 1963-fan, like me, ne-.i "Can you see why Peter Roberts' words ver built up much of a collection himself '(despite the gallant efforts of Charlie and so I can't see how he could pass on Winstone)' mode my blood curdle?" many 1940's fanzines to John Muir. Things, So far, so confused. It seems im­ like Acolyte, Snaceways, Le Zombie, early 1 possible to say with absolute certainty post-war Ken Slater Fantasts, and a com­ at this juncture just what has occurred, plete run of Hyphen just don't grow on and if the BSFA does still have a fan­ trees. zine collection. In an attempt to "But the salient point is that the BJ- clarify the position somewhat I'd like FA believed John Muir, and so instructed domes Bliss to quote two of the other principals in me to proceed with the auction....Here is the affair, Mike Meara and Pete Weston. the joker, however. After the Con I heard Firstly, an excerpt from the afore­ by word-of-mouth (which may be incorrect, mentioned Mike Meara editorial (this don't forget) that John Muir had not do­ the arts in science fiction was to have been a News Department item; nated his (?) fanzines to CHESSMANCON I've moved it here as it seems more after all. Oh no. He had offered them relevant): "The Fanzine Foundation is for auction on the understanding that the dead. It died at Chester during the Concomm kept 15^ of the proceeds, the Easter week-end, and the various parts rest going to him. Now this is a state- • of its dismembered body have been carried ment which I have been unable to check; off to various parts of the fannish but if true, it makes me wish that I had | I was asked to discuss the arts in the most recent issue of F&SF, one de­ world, even to America. There seems to given the things awayI" science fiction. I was a bit puzzled at voted to sf in the universities, which be some confusion as to how this was Now all of this raises a good many first as to whether or not I was here contains a rather extended comparison allowed to happen, but it seems to me questions, and answers very few of them. confronted with a non-subject — this, between jazz and sf by Philip Klass (who you probably know as the author who that a combination of reluctance to I make no apology for taking up rather a of course, partly because I was raised intervene by the BSFA officials in a lot of space with these accounts of the in the pulp era, when the only arts we writes under the name of William Tenn). position to do something about it, to­ affair: I'm sure many other BSFA members I were interested in were those of con­ Kings!ey Amis made a similar comparison gether with a connivance by certain peo­ must be as concerned as I am that one of J structing one cliff-hanger after ano­ in New Maps of Hell; and in a number of ther, and if possible keeping the story ple — I don't intend to name names; the its most valuable possessions can be so different stories Theodore Sturgeon has guilty ones know who they are — to hide easily lost — or, perhaps worse, that moving by dialogue rather than anything described, or attempted to describe, the the true source of the material, was the nobody knows enough about it to say for else, because we had no faith in the effects of jazz. main cause." Mike goes on to wash his sure whether it has been lost or not. reader's ability to follow more than hands of any future involvement with the three sentences of description. But ( But when you try to survey the field This may not be the fault of the current as a whole since, say, 1926 (when maga-' FF. this, of course, is not a question of Council members — and in any case I'm zine sf began) you really find very lit­ art at all; it is simply a question of Perhaps the most revealing comments not bothered about trying to lay the minor technique. Actually the subject tle reference to the arts at all, and come from Pete ’.'eston's editorial in blame at anyone's door in particular — has several sub-divisions: one of them when you do something very curious crops the 1972-73 issue of Speculation. Pete but I think it does display lamentable being the role of the arts in sf proper; up — you find that the artistic tastes describes how Rog Peyton, Peter Roberts negligence somewhere along the line. then the effects of the arts on sf; and of the future are decidedly worse than and himself discovered these very rare What can be done? Jell, Archie Mercer finally — though this may really be a our own. I realise this sounds like a items among boxes of fanzines which were commented that the BSFA hadn't yet writ- J non-subject in truth! — the influence vast hyperbole, but when you read some to be sold unsorted as job lots, and how ten-off the FF, but it would be nice to of sf on the arts. of these descriptions it's astonishing he recognised them as the Fanzine Found­ know what notion, if any, is being taken how stomach-turning they are. One of my ation, which he had helped transport from to recover it, or find it. Obviously The fact of the matter is that until favourite examples of this is, in fact, Liverpool to Birmingham some years ago. there are basic facts to be established. very recently few of the arts were men­ a Sturgeon novel called Venus Hus X He continues: "In 197U/71 or thereabouts Do either Charlie '.instone or John Muir I tioned in sf, and certainly not in comm­ (which I hope most of you have read")": a a Northern fan by name John Muir acquired have major items of the FF in their pos­ ercial sf. It's quite commonplace in thoroughly experimental novel, done in a the FF from Charlie (tinstone) seemingly session. John Muir is said to have clai­ mainstream fiction to find references to series of slices, or alternate takes. without the authority or consent of the med to have had in his possession one or painting, to other people's inciting, to The alternate slices are pictures of BSFA who indeed had until very recently two oopies of all the valuable items sold music, and so on; in sf there is a tre­ contemporary suburban family life in the completely 'lost' the collection. at Chester. Does he? Where did the fan­ mendous dearth of this, with one excep­ United States, each of them designed to tion (and probably not really to Kingsley zines sold at Chester come from, if not show the blurring of the traditional "Here the story degenerates from fable Amis's surprise) — there has been quite from the FF, and where did the proceeds roles of the sexes in modern Amerida. into hearsay. When I protested to the a lot of writing about jazz in sf. And BSFA Chairman (Pete means Vice-Chairman) of the auction go? We have now seen that taking on a rather Continued on p.14 it's still going on: I've just received revolutionary colour, but at the time 4 this novel was written it was more or through the omniscient Jubal Harshaw, clear that this too is programme music; ogist myself — and no artist either, I less subterranean, and Ted was very in­ makes it very plain that for Heinlein as a matter of fact it appears to be a should add — I have never seen any des­ terested in it. In between these slices the absolute epitome of any art-form is historical composition describing how cription of Earthly masks, in any cul­ are pictures of what appears to be a the narrative, or storytelling, art. one tribe triumphed over another and how ture, that bore the faintest resemblance utopia, far in the future. The secret This means that he has no use for the ab­ beautiful towers rose thereafter. All to the masks that Jack Vance devised and of this utopia is that all of its in­ stract, not only in fiction and poetry, this comes very clearly to the hero's described in this story; they were sim­ habitants are hermaphrodites: the blur­ but also in music and painting. He likes mind, despite the fact that even the ply a marvellous invention. The one sf ring of the sexes has gone all the way paintings which tell a story; he likes most sophisticated Terrestrial music story that John Ciardi ever wrote to my down to the physical level, with every­ statues which tell a story. As a matter lover, encountering a piece of Terres­ knowledge had to do with an art vaguely body both male and female at the same of fact, Hodin's "Fallen Caryatid" is his trial programme music for the first related to jade feeling, which, as some time, and playing both roles. I didn't type-case of the perfect work of art. time, will be damned lucky if he can of you may know, is a Chinese art totally think it came off, but that’s neither The poor girl, you will recall, has been tell you whether it describes a battle devoted to the sense of touch. Jade here nor there for the purposes of my trying to hold up the corner of a Greek of a love affairl I have seen this ex­ pieces are carved, dipped, in water to present discussion. What is interesting, building for two thousand years, and periment performed with a Richard make them slick, and the aesthetic plea­ it seems to me, is that in describing finally it has been too much for her, Strauss composition, and to a fresh sure comes from feeling the delicacy of his utopia Sturgeon also took some pains and she has fallen down. But she is audience which had never encountered it the contours. In the Ciardi story this to describe what its artistic life was bearing up bravely and trying to push before and knew nothing about its repu­ had become a high art on another planet, like, and it consisted of gauzily-olad that corner of the building up again. tation, a good half of the listeners and involved not only jade but all children doing folk dances, statues in This, to Heinlein, is a perfect piece of didn't even detect that it was intended other kinds of objects: where we have the quasi-heroic, or late-Mussolini, storytelling, and just exactly what he as comic, let alone what the incidents pictures, music and so on they had these style, buildings apparently designed on likes to see in the graphic arts. Sim­ were that were supposed to be going on things. The one in the story turned out the same order (except that these were ilarly when he treats of music you will in it. So how our hero, listening to not to be a work of art at all, but a only public buildings; everybody else find that all the music Heinlein dis­ a piece of musical composition whose snare, a hypnotic device for trapping appeared to live in huts of some kind, cusses, in this and other books, is pro­ artistic conventions are utterly and one's prey. But this came as a surprise out in the forest, cracking nuts and gramme music. He doesn't know very much completely alien to him, can worry a in the story, and its beauty for me lay making pottery — I couldn't quite fig­ about that either. Nevertheless, a piece of elaborate tribal history out not in the snapper but in the fact that ure out if they had re-invented the pot­ general bias is for narrative; no other of this thing-is a mystery to me. I'm Ciardi here built up a whole artform, ter's wheel or not). The whole thing kind of art appears to exist for him. sure it was a mystery to Wilson too. only slightly connected to Chinese jade had a rather dated quality to me, as the He goes on, in discussing the graphic This is a kind of attention, or non­ feeling, and really made you feel that kinds of art Sturgeon was pushing in artists, to repeat the old canard that attention, to the arts that we have had it had an immense history behind it and this ostensibly future utopia were the abstract artists paint the way they do to become accustomed to until very was the product of a whole culture. kinds of thing that the American group recently. called the Southern Agrarians had been because they never learned to draw. A The inventions of new art-forms for little knowledge — a very little bit pushing back in about 1925 — surely There are some honourable exceptions the future on our own planet have been of knowledge — of the early histories quite unsuitable unless Sturgeon was here. Among others I would mention Jack equally few and far between. I suppose of some abstract painters, including trying to tell us that things had back­ Vance, who is apparently an instinctive the most familiar example is George slid a great deal by the time his utopia some of the most famous — Picasso in anthropologist with an instinctive Orwell's invention of novel-writing mach­ came up; and I'm sad to say I don't particular — would have showed him that aesthetic sense. He never fails to des­ ines. Plainly, Orwell didn't know how think that's what he meant. The gimmick they began by being very good draughts­ cribe an alien culture and make you feel they would work; nor did he care. The of the novel is that the utopia is also men indeed, and only those who we speak that it is alien, and to invent two or heroine of the story, you may recall, in the present: it's just geographically of as Primitives, or whatever, became three art-forms — not just try to first appeared with her arm in a sling, abstract artists without having a good isolated from the rest of the world, and transform Earthly ones — and do so with because she had been tending one of these deal of preliminary training or skill in these hermaphrodites have been created great colour, elan and flair. It is a machines and a lever, or something of this field. This has often made me won­ by surgery; so perhaps it isn't at all pleasure to read even a bad Vance story that kind, had come loose and swung der if Heinlein would carry this analogy surprising that their artistic taste — of which there are not very many — around and had broken her arm. I know doesn't appear as advanced as that of over into music and say that composers simply because of the intricacy and there are a few computer technologists of, let us say, string quartets or piano Utopia ought to be. Now bear in mind flamboyance and consistency of the way reading this who would know better than sonatas or things of that kind became that I'm not prepared to say what the in which he invents art-forms. I'll to expect a novel-writing machine to suoh because they couldn't plot a piece artistic taste of a utopia ought to be mention one example: a story called "The have a swinging axle, or anything of of music? Or perhaps, even worse, like, but I do not think I would like it Moon Moth", in which the art was mask­ that kind! Really, Orwell didn't care. couldn't carry a tune? In any case, the very much if it turned out to be either making, and the masks were worn as a But there is a good possibility that bias is there, and it is very strong. Southern Agrarian or Socialist Realism, matter of social convention: what mask novels could be written by machines. and this peculiar combination is what Again, this is not limited to Hein­ you wore presented you to your society There has already been a certain amount Sturgeon gave us in this novel. lein. I have an example here — from a as the kind of person you wanted to be of computer-generated poetry, some of taken as. If you wore the wrong kind of which makes a certain minimal amount of This is not an unusual sort of blind good many years back, but things haven't changed at all in the interim — a story mask, or if you behaved in a way which sense. I was a little surprised that spot in sf. You find it in Heinlein. called "The Face of The Enemy" by was inconsistent with the mask you were Orwell did not instead have music-writ­ Stranger in a Strange Land will do very Thomas Wilson, which appeared in Astound­ wearing, you might very well find your­ ing machines, because at the time that nicely as an example. Among the many ing SF in August 1952. It takes place self involved in a duel, or dumped in he was composing 1984 music was being other theories that are included — or on an alien planet, and in the course of the river, or asked to do something for written by machines — and I'm not talk­ advanced as fact — in Stranger in a which you had no training whatsoever. it the hero discovers an extended music­ ing about computers, either. During Strange Land is a considerable swatch al composition written by the aborigines. The masks themselves are elaborately des­ World War II there suddenly appeared on of the static theory. And Heinlein, in cribed, and although I am no anthropol­ The account in the story makes it very the American market a slide-rule-like the course of telling you what he prefers

6 7 device with four wheels on it. It was Dead" in 1928 — in which everybody got made of pasteboard and operated by hand, trapped in the Hall of the Dreamers, and iment, and a pack of psychologists and and enabled anybody who could read one the lazy attendants even stopped changing electroenoephalographists and so on des­ stave of music — just a simple melody, the records, so that they were all dream­ cend on him and resculpture him into a in other words — to compose an indefin­ ing the same dreams over and over again. new human being. He has a complete set ite number of popular songs. I under­ The Asimov story, "Dreaming is a Private of memories — all of them false; but stand (from the not-always-reliable Thing", is not simply about the recording nevertheless he believes them to be "Time" magazine) that a great number of of dreams, but about the composition of true — and the climax of this art-form these things were sold, and one grateful them. This has become a creative art­ is the exhibition of this artificially- customer wrote in to "Time" some weeks form in itself. It's quite a good piece sculpted person to an audience, putting later and said, on the recommendation and I recommend it. It was first avail­ him through his paces. In the story it of your story I bought one of these able in one or other of Mr Asimov's 150 is a dead composer who is brought back machines and, by God, I've sold the books. It turns out to be not only to life, as it were. first song I wrote on it! It is much about this particular technological inno­ There was also a story by Harry Harri­ more likely, in other words, that music vation, but to contain quite a good son which I took great pleasure in in­ could be composed by machine than a novel credo for the arts as a whole, and for cluding, partly out of iconoclasm. The or a poem. But I suppose that will the essential loneliness and privacy of art-form Involved is the comic strip; eventually be done. I’ve been reading the creative act. Isaac just used his it is simply the story of an elderly novels lately which look as if they've invention as a vehicle to make his point. comic strip artist who is eventually el­ been written on such machines. There was a story of my own about iminated by a machine. He is working in So, as I say, there are a few notable music, which you may have encountered, partnership with a machine to begin with, exceptions; but in general the arts of called "A Work of Art". I included the and a new machine appears which elimin­ the future, as they are depicted in sf, hit machine and a great many other gad­ ates him entirely. The story, however, very much resemble the terrestrial arts gets that I actually borrowed from my despite the apparent triviality of its of the late 19th and early 20th cent­ own time, just like Jules Verne. The subject, is not comic. The man feels uries. They are what I might term very story did not contain any innovations or his replacement very deeply; and the generally late-Bomantic narrative — inventions of my own in the art of musict fact that the art involved is minor, and the Holman Hunt/fiichard Strauss type of they were all things I knew about that of no consequence, is one of things thing. Occasionally you may hear of, were going on at the time the story was which, I think, makes the story as poig­ nant as it is. for instance, performed symphonies, but written. In fact, the only innovation although something like that is some­ the story actually contains in this de­ I think you will all remember "The times mentioned casually, little attent­ partment is a workable musical type­ Country of the Kind" by Damon Knight, ion is generally paid to it. I once writer, People have been struggling to which makes the very radical proposal became interested enough in this to try evolve one of these things for years now, that if you eliminate violence in the to make a collection of stories about and as far as I know one still doesn't human heart — the very impulse to vio- the future of the arts, a book called exist; but you must admit that is a 1ence: not as in A Clockwork Orange, Mew Dreams This Morning. It has never pretty minor innovation. One element of where you simply condition the man to been published in England and, as a the story that seemed most radical was be repelled by it — then the creative matter of fact, died an absolutely the composition of musical soundtracks spirit will go with it: a highly debat­ horrible death in the United States, due by drawing on the soundtrack beside the able proposition, but one which I Then there was "With These Hands", a partly to the fact that the printer, in­ film. No instrumentalists are involved; thought Damon put forward with great too-little—known story by the late C.M. stead of putting the blurbs in italics no musical notes are actually written persuasiveness. The only artist left in Kornbluth. This is also a story of the at the head of each story, tailed them down; but the man who does this has be­ the world in this story is an artist who replacement of the artist by the mach­ on to the preceding story — which made come a sufficiently superb sound tech­ has committed a murder and has been made ine. In this case the artist is the the volume, to say the least, rather nician that he can make sound waves on intolerable to his fellows by having a sculptor, and the import of the story is more puzzling than it would have been the film, and make the end result come bad smell. He is entitled to approach almost the same as the Harrison piece, otherwise. It made a rather slim haul out sounding just as he wants it to anybody, do any violence he likes; they although the art-form is of more import­ anyway; as a matter of fact I was forced sound. I don't know that this has been will not fight back. But his agony is ance. It is also an extremely poignant to include two of my own stories — perfected either; but at the time I was not that people will not associate with story, with the man preferring death which I did not do with any great reluc­ writing the story somebody was experi­ him; it is that he is the only remaining among works of art formed by real human menting with this and producing a certain tance, I will add! — because it was so creative man in the world. He keeps hands to a very lucrative position he hard to find anything in science fiction amount of (no doubt primitive) noise. putting little statues in niches for has been offered operating a sculpture that dealt with the arts in a responsible Again, what I was discussing was not people to find and leaving messages say­ machine. "The Music Master of Babylon" way and showed any real knowledge of innovation in the art-form itself,, but ing: if you understand this, pick up a by Edgar Pangbom is one of the very few them. the whole nature of the creative process. stone and strike, pick up a knife and knowledgeable sf stories about music I The art-form which is, as it turns out, have ever encountered. The hero is a The arts involved are themselves int­ stab. It's easy: try it. And nobody more central to the story, is one of composer and, by God, Pangborn makes you eresting. There was an Asimov story will listen to him, nobody will pay the which I am rather proud. I don't recall believe in the man's ability as a com­ about the art of dream-composition, slightest attention because, Damon pro­ seeing it proposed anywhere else before. poser, and even in his compositions. which is, I think, quite a feasible sort poses, violence and the artistic impulse This is the creation, for aesthetic pur­ These are described at some length, and of art. We have had stories about re­ are two sides of the same coin. It's a poses, of artificial personalities. You sound like real pieces of music. I corded dreams which go all the way back horrifying thought. take a perfectly ordinary man, who may to Fletcher Pratt's "City of the Living or may not be a volunteer for the exper­ 9 8 have only seen that done once before, in and that art would therefore no longer while the people who flock to hear John What has been happening in the lit­ Thomas Mann's Doctor Faustus, which is serve even a psychological purpose. Cage or Stockhausen, or people who com­ erary sense has been quite interesting. about the life of a composer. Mann has Of all the contributors to Hew Dreams pose musique concrete can hardly be des­ I suppose we must call this the New Wave, the daring to describe many of his major This Morning (I do not know all of cribed as hordes. With modern poetry for want of any better term. What is compositions, and with several of them them personally, but do know most of the common complaint has been that it happening now, and has been happening I still retain the impression that I them) I know of only one who had any has been out of touch with its audience for the past ten to fifteen years, is have heard them somewhere. This is not real contact with idealistic Marxism, for decades, compared to the period that sf has caught up with the movement easy to do, but Pangborn brings it off, that being Kornbluth, who soon repud­ when poets like Tennyson and Browning that used to be known as the Modernists: and again it is an extremely poignant iated it. Nevertheless, this threat of could count on being best-sellers. Now­ John Dos Bassos, Virginia Woolf, James story. the disappearance of art with the coming adays, for every Eliot who has what Joyce, and a few lesser figures of that of Utopia — or at best the mechaniza­ might be described as a mass audience, period are suddenly popping up all over The final one, "A Man of Talent" by tion of art — is very, very common in you have fifty people who appear to be the place, in the sf novel in particular, Robert Silverberg, deals with a possible sf even today — so common that it is writing only to themselves or to the and to a lesser extent in the sf short variant on the artists' colony, where a hard to find any other kind of story next guy. Poetry has reached the stage story. I find this particularly inter­ number of colonists go off to organise about the future of the arts. how of isolated letters on the pages one esting because the Modernist movement, their own planet. They discover in the here, one there, one down here, one over after all, was principally a phenomenon end that since they are all artists their As I said, I think there is a second there: I think this is called concrete of the late Twenties and early Thirties, lives have become meaningless, because reason. Every period, with few excep­ poetry; I am not quite sure. In any the time when sf was going through its there is no audience. tions, believes it is on the edge of event I make no attempt to follow it. blaster and beanie phase and did not artistic anarchy. The one major excep­ know the rest of literature existed at tion I can think of was during the heart It seems to me that this very conser­ all. Also I find it interesting that Now I had a reason for going through this of the eighteenth century — the old age vative attitude — which has nothing to this movement began, .and is still prim­ rather long collection in this much de­ do with Marxism whatsoever; it is a com­ of Haydn and the whole life of Mozart. arily being sustained, in England, and tail. I think you will have noticed that Musical norms then were so settled that pletely different thing — also prevails has been going on at a time when the the one thing all these stories have in nobody really felt there was any sort of among sf writers. They look around at mainstream novel.in England has entered common is the disappearance of art in revolution going on. Everybody under­ the arts they see now, and to them it upon a decidedly anti-Modernist phase, one way or another. Replacement by the stood the music that was being produced; appears to be complete anarchy. Their best illustrated I imagine by John Wain machine is a very common theme; ■ nobody was upset by it. I call your appreciation only extends as far for­ and Kingsley Amis and people of that ward in time as the things they grew up replacement by barbarism — which is attention to the fact that these very stripe who are going back to very direct conservative composers, who we now know with. In music, for example, this what happens in the Pangborn story: narrative forms and completely eschewing would mean Wagner, Richard Strauss, the Music Master of Babylon is the as belonging to the Classical Age, were all the experimentalism which used to be maybe Prokofiev and early Stravinsky if last musician in a barbaric world — revolutionaries in their time. They such red-hot stuff. Now, just at this they were lucky. That far they are is another; or the death of the artistic really upset the Baroque composers who juncture, people like John Brunner, Phil­ willing to go. And their predictions impulse by one means or another, such as preceded them — such as Bach and Tele­ ip Jose Farmer and others — epitomised are either for complete disintegration Damon's story of educating violence out mann, who were the last of their line in by the new, new New Worlds — have sudden­ or for a return to some previous norm. of the human race. And these are all the Baroque school. The Bomantios were ly discovered that it is possible to They never seem to consider that for good stories — even mine I — in that certainly arch-revolutionaries to the arrange words on the page in something most generations the normative, artis­ they are all knowledgeable about the Classic composers — Beethoven's music other than the traditional order, and tically, is always in the past, never a»ts they are discussing. They are was regarded as a vast mass of cacophony are adopting with great enthusiasm these uniformly pessimistic (probably another in the present. Except for a very few by his contemporaries. techniques of the Thirties — to what reason why the volume failed). I perceptive people, what is going on now I am no expert on painting, but speak­ effect we do not yet know. couldn't find anywhere in the vast mass in the arts always looks like chaos — ing from my position of vast ignorance of sf that I have read since 1931 — and this, I think, is a very general In some cases it has been highly eff­ it seems to me that painting and the which is when I started — any story attitude in sf. ective and very well used, although not graphic arts have reached a point where which was truly knowledgeable about an entirely within the sf fraternity as we anybody who thinks he sees any meaning art-form and dealt with its future know it. Joyce, for instance, has had a in them is a faker — and I deliberately which was not pessimistic. And I began I think this leads logically (at least tremendous effect on one British sf take this philistine position to emphas­ to wonder why this was. I think there I hope it does) to the question of what novellist who has been one of the very ise my point. This is a very common are two reasons: they are very disparate the effects have been of the arts upon few men not only to use Joyce — which I feeling in all the arts. Music — about and probably have no connection with sf. It will not surprise you when I say would have thought impossible out of which I do pretend to know something — each other whatsoever. very little, until quite recently, and hand — but actually to assimilate him, has gotten so far away from the concert the only arts that appear to have had and make him his own. I refer to Anthony One of them is Marxist. It is — or hall audience that the composers who much effect even upon recent sf are the Burgess, who is from time to time an sf was — a commonplace of idealistic Marx­ consider themselves modern have to org­ literary arts. Some attempts have been novellist, and a very good one. The ism that art was essentially an aber­ anise themselves into societies and play made to use pictorial effects — typo­ influence upon him of Joyce, particularly ration of the socially maladjusted in­ to each other. They are not drawing the graphical tricks and so on — to create late Joyce, which is the hardest to dividual who was seeking in art the audience any more: the last truly modern pictures on the page in the manner of assimilate, is very evident indeed, ideals and the satisfactions which he composers to do so were the twelve-tone George Herbert, or some of the seven­ particularly in A Clockwork Orange but could not find in the society that was composers — Berg, Schoenberg and so on. teenth century metaphysical poets. But also in some of his non-sf novels. grinding him down; and that when Utopia These people won their way only after a the effect of advances in painting and Then we have Brian Aldiss's Barefoot did arrive, the impulses which art sat­ tremendously hard struggle. They still music on what goes on in sf has been in the Head — a very effective novel in isfies for us now would be satisfied in do not have a very wide audience, but very little. reality by perfect social conditions, they are gradually winning acceptance, 11 10 itself, and in its technique a sort of Nothing moves. Everything is done by it with a ten foot pole before, because on we could expect absolutely nothing child’s guide to Finnegan's Wake. Once implication. There is not plot; it to them sf meant monster movies, and of the novel. Forget it — the form was you have read Barefoot in the Head you just sits. It may be that what little Star Trek taught them that this wasn't dead. Now, of course, we know that will he able to tackle Finnegan with plot the story has was introduced entirely true. The two phenomena are Ulysses was one of the most over-con- absolute impunity, and very probably even because of publisher's interference. not, I must admit, closely comparable; trolled novels ever written, so there is get through it, which would be very good But it is an interesting combination: but I do think there is some connection. hope. for you. Finnegan's Wake is, I think, a late Victorian painting and the French There has been a lot of rock lately At the time, I am quite sure that had masterpiece, although not such a master­ anti-novel. in sf. Norman Spinrad's "The Big Flash" the boys turned to Ulysses, much less to piece as Ulysses. Brian assimilated this With poetry the connection is not is the example which springs immediately Finnegan's Wake, they would have seen technique and used it in Barefoot to his quite as bad as all that. There used to mind. Just as Sturgeon quite frequent­ chaos, just as we see chaos in Stock­ own purposes, and it worked out very to be very little poetry in sf, and ly attempted to describe the effects of hausen and John Cage; and they would well. equally little notice taken of it. We jazz, so many of the younger people of certainly have seen no possibility of Moorcock is one man who has adopted used to have people who wrote reams and the Ellison-Spinrad group are talking • adapting any part of it to selling stuff some of Dos Passos's techniques, partic­ reams and reams of flowery, unseleotive quite a lot about the effects, emotional to "Astounding Stories of Super Science" ularly in the Jerry Cornelius stories; i prose — particularly the fantasy writ­ or otherwise, of rock. I must confess or "Weird Tales". So I think they can and several other people have written ers, of whom my favourite horrible ex­ these are inaudible to me; but plainly be excused for being forty years behind those as well, including Brian Aldiss, ample is Abraham Merritt — but quite they are audible to younger people, so I the times: forty years ago they were not James Sallis, and several of the Hew often you would encounter a writer who obviously have a tin ear in that de­ behind any times, they were nowhere, not Worlds crowd. I have mentioned Burgess made the mistake of introducing a poet partment. aware of what was going on at all. and Aldiss in connection with Joyce; character into his stories, and then On the whole it would seem to me made the further mistake of quoting some there is also Farmer, who has shown a that one of the rather big changes we strong affinity for Ulysses. Aldiss, of his poetry. I am told upon reliable see taking place in sf now is an Now comes the most interesting part, it you will recall, wrote an anti-novel authority that Robert Heinlein is firmly increased consciousness of the existence seems to me, and that is the influence which started out to be a perfectly convinced that the works of the blind of other arts besides pulp narrative, of sf on the arts — and there is some. straight anti-novel, but turned out to poet Rhysling are real good stuff! and of the fact that what is going on I have already mentioned Burgess, who be another sandwich novel: alternate Robert E.Howard wrote quite a lot of in contemporary art is not necessarily has clearly been influenced by having episodes of anti-novel and straight­ poetry. Lovecraft, as you probably chaos and is not necessarily to be read quite a lot of sf. The Argentinian forward sf story. This was Heport on know, wrote many, many yards of it — looked upon with pessimism. If it is writer Borges has obviously read a lot Probability A. I think it was an cubic miles of it — much of it under taking the boys a little while to catch of the stuff and been influenced by it. His work shows it very strongly (and now interesting experiment, although in the title "Fungi from Yuggoth", which up with the Thirties so far as technique some respects a failed one. The most was a sonnet-cycle. I do not suggest is concerned, well, please bear in mind that's beginning to feed back, by the way, to go in the other direction). interesting part about it is that it that what underlies the title is any what they were doing in the Thirties: shows the most recent literary influ­ more promising than the title itself. they were writing "Monsters of Mars", John Barth, an American novelist, has written one sf novel, Giles Goat Boy, ence I have yet detected in sf. There "The Revolt of the Machines", "Hell's We do now, however, have some genuine and it would not surprise me at all to are all those other people employing Dimension", "The Exiles of Time" — I talents and some genuine practising Dos Passos, Joyce, Faulkner and so on; could go on forever if I were to abandon see him turn out another. Another poets in this field. Me, for instance! American novelist named Thomas fynchon, but the French anti-novel is, after all, my mind to it. They were paying no I can document this: I have had a con­ quite a recent development and here it attention to Joyce and Dos Passos and who I recommend highly to you if you siderable volume of poetry published in have not encountered him, has written is showing up. Just to show that he is those people at the time that they were little magazines, both here and in the not immune to the same prejudices (as writing. They were doing a kind of a massive encyclopaedic novel, in size United States — and even in Hungary, I the rest of us, however, Aldiss is also thing for which they were being paid if not in structure rather reminiscent understand, although I have yet to get very much hooked on narrative art, and what Horace Gold once described as of Ulysses, which is quite science any zloty, or whatever it is they pay fictional in parts; and another, a short­ in that novel the late Victorian paint­ "microscopic fractions of a cent, pay­ over there. But taking me out of the ers, particularly Holman Hunt, have had able on lawsuit", and they had absolutely er one, The Crying of Lot 49» which is a quite an obvious influence. A Holman picture, we still have people like no time, or inclination, to keep up with Van Vogtian conspiracy story from the Hunt painting, "The Hireling Shepherd", Aldiss, John Brunner, Tom Disch, who are what the literary giants of the period ground up, very funny and very ingenious. plays a part in the book. For those not only very sensitive writers of prose were doing; and furthermore, had they There has been a lot of sf influence of you who haven't seen it (it appears but also produce a considerable volume done so they would probably have said on music, most of it, as you probably on the cover of the Faber edition) it of poetry on the side, much of it very just what almost everybody else was know, in rock. Rock groups have given is a highly symbolic affair in which a respectable stuff. I think this is a saying at the time: this is utter chaos; themselves science fictional titles; young gallant is diverting a shepherdess very hopeful sign; and it may also be a literature can break down no further they have written songs with sf lyrics. sign that modern poetry may after all re' from her sheep by capturing for her a than this; we have reached the end. I It has also had a considerable influence capture some sort of an audience. Sf butterfly. The pattern on the butter­ remember at that time reading a book by on what I suppose we must still consider seems to be becoming a mass medium fly's wing makes a death's head. It is an American called A Doctor Looks At as serious music. There now exists an (although possible the smallest mass a very typical Holman Hunt painting, the Literature, which had a chapter in it medium in history) and if a certain sf opera called Aniara*. It takes place kind of thing which presents a suspended on Ulysses beginning:."I am probably amount of poetry can be infused into it, moment of a story that makes you want to the only man in the world to have read and a rather modern sort of poetry — say "Yes, and what happened next?" One Ulysses through twice." The rest of * Two, actually. There is now an opera unlike "Fungi from Yuggoth" — we may can see how an interest in the anti­ the chapter was devoted to demonstrating based on Stanislaw Lem's Cyberiad (see have an audience to be re-educated, very novel would lead one to be interested just why it was that Ulysses represented Franz Rottensteiner's article in V59) much as the tv show Star Trek converted in that kind of painting as well, be­ the absolute breakdown of all form and — ME cause the anti-novel just sits there. a lot of people to sf who wouldn't touch control on the novel, and that from now

12 13 entirely aboard a spaceship which has good accuracy. It is as though Chesley been derailed, so to speak, and is on a Bonestell, at his advanced age, has sudd­ long journey to nowhere. Musically, it enly crept into the forefront of at is a thoroughly eclectic operas mostly least some part of modern painting. twelve-tone,' but also containing some This is an interesting phenomenon, and neo-Romantio music, some musique concrete, one which, I suspect, will continue to some taped music of electronic sounds — develop as we go farther into space and all of which, however, are beautifully find odder things than we ever dreamed integrated. The poem is by Harry Martin­ of on the covers of pulp magazines — son, who is one of Sweden's greatest such as what we have recently discovered poets; it was adapted from a long epic on Mars. Artists may seize upon this poem. The opera has been highly sucoes- material for imagery, and may also draw ful, not only in Sweden but almost every­ more and more from the stories them­ where else it has been played. If you selves, now that the audience for the have not encountered it there used to medium is spreading. exist, and I think still does, a So on the whole, though I thought complete recording of it, which I en­ that what I had here was a non-subjeot, courage you to look up. The copy that as I said at the beginning, there does peter Roberts I got maddeningly had no libretto with actually seem to be quite a bit to be it, and I am still trying to run one said about it — and, what is probably a down. All I have is a general outline great deal more important, quite a bit of the plot, but even so I found it to be watched for. We are standing eff­ very interesting. the fannish inquisition ectively at the beginning of the invasion When it comes to painting I should of sf by the arts, and the invasion of defer to my wife, who is the expert in the arts by sf — there are two comple­ the family. But I have seen myself — mentary processes. Where it will all go little attention though I pay to this only God knows, but I think it is an art, quite a bit of influence of modern extremely interesting process, and it is painting which oomes either from sf or something that I am watching with great Four fanzines have been nominated for a this happen this year, Locus will once from the space programme — I cannot fascination. Hugo Award, to be presented at the Los again be a Hugo winner. exactly tell which. A fair amount of Angeles World Convention in September Locus itself is a fortnightly news­ modern painting that I have seen repro­ --- James Blish, 1972 this year and, since these should rep­ zine which has emerged as the foremost duced in magazines is suddenly full of resent some of the best publications in of its kind in America. It's in the astronomical symbols, usually of pretty the fan world, it might be an idea to fifth year of publication and the latest take this opportunity to examine the issue I have is the 114th, so regularity nominees in this column. and persistence are two contributing Continued from p.4 There is a mixed bunch of contenders factors to its success. In the early this year; two are published in the Uni­ days it faced stiff competition from ted States: Granfalloon and last year's Osfan and in the middle period from There are other, more obscure questions. is recovered, or found, I'd like to winner, Locus; while one comes from Can­ Focal Point; but nowadays it has no com­ Both Pete Weston and Keith Freeman say suggest that it be loaned to the SF ada, namely Energumen, and one from Aus­ petition, apart from small scale local that John Muir claimed it was O.K. to Foundation in the same way that the tralia, SF Commentary. Between them newszines, and its circulation has in­ auction off these fanzines because Library is: it is, or will become, they represent a good cross-section of creased fantastically, so that the ed­ they were duplicates — but even if valuable archive and source material fanzine material, from the fannish to itor, Charlie Brown, is now printing they were duplicates, surely that which deserves a better home than a the sercon, and a variety of formats, 1300 copies of each issue. The contents doesn't make it all right if they pile of carboard boxes in someone's from the small newszine to the plush are largely items of science fictional were from the BSFA's collection? attic. quarterly. The only point they have in news, a point of criticism to the more Another, contrary, points it doesn't common is a large circulation, an un­ fannish fans who remember the earlier make much sense to me, if it's true fortunate necessity for any fanzine Hugo winner, Terry Carr's Fanac, with that Mr Muir kept most of the auction One surprise offshoot of this job publisher who has hopes of gaining Hugo nostalgic delight. A fair amount of fan proceeds, for him to send them for came in the form of an invitation to votes. ((Perhaps I should note that news does, however, appear and a typical sale in jumbled-up packages, so that an illustrated lecture to publicize in fanzine terms a large circulation issue, such as the 114th, contains a con the valuable material might have gone The Challenge of the Stars, a new book probably means around 400 copies, which report (Disolave 72), lists of new unnoticed had it not been for the by Patrick Moore and David Hardy, is, I believe, about what SF Commentary books, contents of forthcoming magazines vigilance of Messrs Peyton and published by Mitchell Beazley in assoc­ prints. There are exceptions, of reviews of the latest magazines and Roberts. Anyway, whatever emerges it iation with Sidgwick & Jackson. The course, such as the late SF Review and, books, and some general notes. The would be nice to know that someone, gimmick of the lecture was that it was as Peter mentions below, Locus. MJE)) average size is ten pages and Locus somewhere, in the BSFA is doing some­ a look back from the year 2000 over the Previous years have seen a further and often contains fliers and columns by thing about the FF — because despite past 30 years' developments in space much worse tendency whereby the final such as Bob Tucker, Harry Warner, Jr, what some people say if it has been travel, with David Hardy's paintings result of voting parallels the circul­ and Jack Gaughan. Cartoons are Liberal­ sold it isn't too late to recover it, being shown as if they were photos. ation figures of each fanzine; should ly sprinkled throughout and are oonsid- or most of it, although it becomes more Patrick Moore was rather different in difficult as more time passes. If it 14 Continued on p.27 15 erably more faimish than might be ex­ pages of fannish chatter dealing with of stories collected in anthologies Granfalloon. pected. Generally, therefore, I have the activities of fans in Melbourne which just about proves that the 'Gold­ no complaints about Locus. I might and in Australia generally; this too en Age' for the sf short story falls be­ Granfalloon 14, however, seems in prefer a more fannish newszine; but seems to be typical of SFC and also, tween 1951 and 1953, and Richard Delap's many ways superior to the average issue. Charlie is publishing what both he and incidentally, of Speculation — a sort continuing review of the original fic­ Don D'Ammassa has an amusing series of the majority of his readers want, which of last ditch attempt to convince you tion anthologies. The letter section is anecdotes about life in an Oklahoma is of course entirely fair enough. A that the editors really are human. long and well-edited and the general army town with Tim Kirk providing ill­ more specific complaint might be direct­ The greater part of SFC 25 is neverthe­ ’ appearance of the fanzine is competent ustrative cartoons. Arnie Katz then ed at the mercenary way in which Locus less summarized by the words 'sf crit­ and clear, though Bruce does without any talks of his love for old fanzines and is run; but there again, no one is under icism'; it's slightly biased towards interior artwork. SF Commentary has a recounts some of his trufannish dreams, any compulsion to subscribe. certain authors and certain modes (the personality of its own, a rare thing in many of which (to my envy) seem to have inevitable 'New Wave', or shall we say a sercon fanzine, as well as the ability been fulfilled. Jeff Glencannon con­ SF Commentary, published by Bruce 'literate', science fiction in partic­ to maintain the interest of non-addicts tributes some excellent and lengthy fan­ such as myself. I for one would be zine reviews and there is a fairly good quite happy if Bruce receives a Hugo in letter column. In addition, the second Los Angeles. chapter of Ted White's novel Trouble On Project Ceres appears; this is a curious Both Granfalloon, edited by Ron and item, apparently explained by Ted White's Linda Bushyager, and Energumen, edited publisher cutting out his first two by Mike and Susan Glioksohn, are finely chapters, Ted's resulting anger, and produced fanzines whose contents are Linda's timely sympathy. Needless to varied from issue to issue. They are say, you really need a copy of the novel part of the new breed of fanzine which for this to be of much use. Energumen places great emphasis on layout and 12 seems to be a slightly odd issue in visual appearance. Granfalloon 14, for that Mike spends his editorial and Susan example, has a portfolio of artwork by her column, "My 2^ Worth", talking about Ron Miller in the centre pages and fannish conduct in relation to Energumen Energumen 12 a portfolio by Jim McLeod. — Mike complaining about angry would-be Both stand out as such, since their traders and Susan about forgetful art­ white pages contrast with the green and ists. Perhaps this is necessary, yet it buff (respectively) of the remainder; still seems slightly unpleasant. How­ the result, ooupled with offset covers ever, Susan also contributes the second (by Grant for Granfalloon, Shull and part of an article about women in comics, Fletcher for Energumen) and the mass of specifically Marvel comics; Harry Warner, interior artwork by such as Tim Kirk, Jr. has a piece about Bob Tucker and the Steve Fabian, Rotsler, Kinney, and so Noreasoon; Bill Watson, old-time ex-fan, on, makes an immediate impression on has a splendid personal piece; Don the reader: these are fanzines to handle Hutchinson looks at Clockwork Orange with white gloves on. This, however, (Kubrick's); Jerry Lapidus talks on fan­ does both an injustice, since Linda and zines, quite entertainingly; and Rose­ Mike are also concerned with the contents mary Ullyou has her column, "Kumquat of their fanzines and manage to achieve May", which I, as usual, found terrible, a fine balance between visual and written but which everyone else raves over for material as a result. reasons which remain unclear to me. A Granfalloon is the less frequent of good letter column completes this issue. the two and is more prone to vary its Perhaps Granfalloon 14 is a better standards from one issue to the next. single issue than Energumen 12; but gen­ Occasionally it contains both poor art­ erally the Canadian fanzine wins any work and poor articles and Granfalloon such comparison and I unhesitatingly put ular), yet still manages to cover a 14, for example, does have some inferior Gillespie, is undoubtedly the foremost forward Energumen as my choice for Fan­ magazine of sf criticism currently being variety of topics from Tau Zero to drawings. Energumen, however, is con­ zine Hugo in 1972. produced. The only other contender Quark. One complaint I'd make as a sistent and also sports regular columns might be Speculation, but Pete Weston's result of this is that too much space by two of this year's Fan Writer Hugo schedule has been extremely erratic of is wasted telling us that books we know nominees, Susan Glioksohn and Rosemary late whilst Bruce has been publishing are worthless really are worthless — Ullyot (both of whom owe their places I promised to include at least one British with some regularity. The 25th issue Paul Anderson, for example, takes two in this category to their work in fanzine in each of these columns; but it. is fairly typical of SFC, since it con­ pages to say this much about Tarnsman Energumen). A distinct advantage for seems I am to be foiled this time, since tains equal amounts of reviews, artic­ of Gor and Priest-Kings of Gor. My own the latter is that Mike Glioksohn him­ none of the Hugo nominees are British. les, and letters, all firmly based on prejudice also condemns a six-page crit­ self is a fine writer, whereas Linda However, Pete Weston's Speculation has the sercon aspects of science fiction, ique of Tau Zero for the same reason. (Ron does no writing) is not. Energ­ been nominated five times in the past rather than the fannish. Curiously There remains nonetheless an interesting umen, in other words, is better writ­ and probably only failed this year be­ enough, however, Bruce softens up in open letter from Philip Jose Farmer to ten and has more personality than cause of its unfortunate irregularity. his editorial and includes several Stanislaw Lem, plus a detailed analysis 17 16 An issue has at last turned up, the thir­ Speculation-II talk) and John Brunner tieth, and it is an excellent production talking about the writing of sf once in almost every respect. again (from the Worcestercon). Both are transcribed well and are concluded Speculation is one of the world's fore­ most sercon ‘fanzines, the kind, that is, with comments and questions from the audience. The other main items are Bob that specializes in discussing and criti­ Rickard analysing Blish and Mark Adlard cizing science fiction itself, rather considering sf and the business world. than science fiction fandom. Pete Weston Reviews are by Creath Thorne, Pam Bul­ has outlasted most of his rivals in the mer, Tom Shippey and Tony Sudbery and field: Dick Bergeron's American Warhoon are some of the better examples of seems moribund at the moment; Dick Geis's their kind; they are fairly intelli­ double Hugo-winning SFR has folded again (he'll probably revive it again in anot­ gent, open for argument, and, what I her ten years); John Bangsund's fine consider particularly important, deal with books that are worth investigat­ Australian SF Review has changed names ing, rather than space operas and the and forsaken straight sf; and the many latest sword and sorcery epics. The minor rivals have disappeared or mutated. letter column, finally, is well edited Only SF Commentary, reviewed earlier, books and interesting and the general, pres­ presents a serious challenge; Riverside entation of the magazine is clear, Quarterly has long since disappeared down though hardly glamourous. Speculation apeman-infested jungle tracks. has improved considerably over the Somehow, however, I think 3FC will win. last few issues so that even I, never Pete has long had severe attacks of fann- well-known as a serious sf fan, have ishness, unbecoming to the strict sercon greeted its arrival with glad cries — publisher (as Bruce Gillespie will tell so much so that this issue even con­ you), and it's beginning to show in tains a letter from me. This alone Fugue for a Darkening Island wise known as a disaster novel — yes, Speculation. Most of us will rejoice; makes Speculation 30 a collector's the book is that; but it is not about by Christopher Priest but I rather think the seroon-or-die fans item and one that's well worth getting. the disaster, it is about commitment. will leave a sinking ship and flee to SFC Faber & Faber; £1.75; 147pp Whitman (l am not sure if the name is or some new, as yet unknown, publication. allegorical or not) is on the fringes of ■ Perhaps Pete will convert them, though? Energumen is 75/ from Mike and Susan Reviewed by Vic Hallett events but never begins to be able to Certainly he's a good fannish writer and Glioksohn, 32 Maynard Ave, 205, affect them. He is neither a hero nor in Speculation 30 he allows a long edito­ Toronto 156, Ontario, Canada an anti-hero; he is simply the central Granfalloon is 60/ from Linda & Ron rial in which he rambles well and intell­ When I read Indoctrinaire I felt that character, the man who can argue but igently through a few topics, even manag­ Bushyager, 1614 Evans Ave, Prospect Christopher Priest should have continued never does very much, the man with the ing to squeeze in a con report and a fan­ Park, Pennsylvania 19076, U.S.A. the book in the style of his opening right attitudes who finds that they Locus is 12/^3 (£1.50) airmail from zine review (and before some of you cry section, but that he seemed to have got don't help him. The whole book leads to 'sacrilegeJ', remember that Pete used to Charlie & Dena Brown, 3400 Ulloa St., stuck and weakened the book. Here there the final paragraph, with its decisive do fanzine reviews for this magazine San Francisco, California 94116, U.S.A. are no such problems: he had an idea for action. under the peculiar pseudonym of - uh- SF Commentary is 9//3 from Bruce Gill­ a story; he had an idea for a narrative Malcolm Edwards...). Also included are espie, GPO Box 5195AA« Melbourne, Vic­ form; and he has written a cold, pessi­ The idea of the conflict obviously four good photo pages of the Easter toria 3001, Australia (Malcolm Edwards mistic and powerful novel. arose from some of Enoch Powell's utter­ ances; and it does not matter if the SF Convention at Chester, assembled is UK Agent — 9/£1.5O) Britain has an extreme right-wing by Pete Weston though also visible in and Speculation is 20p from Pete Weston situation is still valid or no — the government and has also become the tar­ main point will always be valid. The some other fanzines which shared costs 31 Pinewall Ave, Kings Norton, Birming­ get for African refugees fleeing from a with him. ham 30. style is unusual but it is the most nuclear war. Conflict is inevitable, effective one for this book. It is non­ The science fictional side is not All except Locus are also available for and the result is a three-way civil war linear: events are taken from various neglected, however, and there are two contributions and LoCs, plus arranged with United Nations intervention. This chronological points of Whitman's life particularly fine items within, namely trades. is tolerable if you are committed, but so one gets a series of snapshots. This Philip Strick on Heinlein (from his if you are like Alan Whitman, intelli­ causes Christopher Priest to be precise — Peter Roberts, 1972 gent but trying not to get involved, in his writing; it causes the reader to then you have problems — no one wants concentrate on each episode; and the you on their side for any length of whole picture builds up piece by piece time. Whitman finds himself homeless, over a wide canvas. The writing is so trying to protect a wife and daughter clear, with not a wasted word in the as well as simply trying to survive in book, that there is never any confusion the war-ridden countryside. When the in the reader's mind, and many episodes two females are captured by Africans, take on a power they might otherwise lack. he finds that he has to take sides and decisions. Towards the end Whitman finds himself in a South Coast town which is trying to A breakdown of society novel, other­ carry on as though nothing had happened 18 19 — non-oommitment on a large scale. The Stonehenge other, and the descriptions of the awe­ eke out a precarious scavenging exis­ scene is remarkable vivid, and it is so some shaping and raising of the stones. tence in the ruins of the Great Society. easy to see how tempting such a course by Leon Stover and Harry Harrison (That last bit is a quote from the jac­ I was a little worried when I saw would be; also so easy to see at that Peter Davies; £2.10; 251pp ket copy, which is for once germane, mention of Atlantis, but it proves to point how wrong it would be. That being — one suspects — written by the be the true Atlantis — Thera and Crete scene is likely to affect decisions Reviewed by Vic Hallett author himself.) M.John Harrison — which has been uncovered in the last I may have to make in the future, whether treads a careful path somewhere mid­ few years. I gather that the book has they are large or small ones. way between the opposed approaches of The authors have a theory about Stonehenge suffered to some extent at the hands of Ballard and Wyndham. In Wyndham!s This is a very good book and, I think, and they have chosen to present it to a publishers and that it is shorter than novels (to generalize slightly) the an important one. It is also an exciting, wide audience in the form of an historical was intended; certainly there is a feel­ ruins of civilization provide a back­ violent novel which works as straight­ novel which uses many of the narrative ing of rushing at some points where a cloth against which middle-class Eng­ forward intelligent entertainment. techniques of science fiction. more leisurely pace would have suited lishmen assert their capability; with better. There is no impairment to the Ballard, on the other hand, landscape Ason is a Mycenaen warrior prince, reader's enjoyment, however; we still and Inteb an Egyptian architect; together is of primary importance, and the best have a very exciting and colourful the characters can do is to submerge they are shipwrecked on the shores of novel and a very plausible explanation Britain and their subsequent actios themselves into it. While performing for Stonehenge. I gather that King change the lives of the Yemi, the an open genuflection in Ballard's Arthur will be the next subject to get direction (p.31), Harrison allows his peoples already there. Ason's weapons the Stover/Harrison treatment. That and tactics are so new that he is soon characters more independence; while The Patterns of Chaos should be interesting. regarded as a great chief, and Inteb is they are affected by the landscape, by Colin Kapp supervising the building of the symbol their shifting moods mirroring changes Gollancz; £1.90; 222pp of that greatness, the largest stone in it, they are still able to think henge that the tribes have ever seen. and to act. Reviewed by Tony Sudbery There is little difference in essence Indeed, this is to a large extent from a story in which two astronauts what the book is about. Homo sapiens is A bomb, despatched from the Andromeda crash on another planet and change the out-dated, no longer fitted to survive nebula seven hundred million years ago, culture by their superior technology. The Committed Hen in the new, radioactive world. The few strikes and demolishes a whole planet. There is no accident in the resemblance by M.John Harrison hang on, making efforts towards survival. It strikes at the exact point where a either: the authors thought it the best New Authors Ltd; £1.75; 184pp These efforts may even seem partially certain man had been twenty-four hours format for the book, and they were successful — until a glimpse of a ago. A little later the same thing right. It gives the reader a chance to Reviewed by Malcolm Edwards genuine adaptation to the changes ex­ happens again; this time the bomb is become acquainted with Ason, Inteb, and poses them for the meaningless gestures only sixteen hours late. Isn't that a the warring civilisations of the Medit­ they are. This central metaphor is gift for a blurb writer? Think of all erranean, and then to discover the alien­ hammered home time and again from var­ This review is rather late in appearing: the possibilities for tension that this ness of the northern island as they dis­ ious angles. There are the handful of the book was published more than a year idea offers; don't you want to read the cover it. And it is alien: the customs, surviving bureaucrats in the city who, ago. Better late than never, though, book? Well, don't bother; you'd do the boasting, the killing, the attitude unable to make any kind of adjustment, especially since it appeared under a better to write it yourself. Wot a to women — all are different from us mimic their former life in pathetic non-sf imprint and many of you may have single one of these possibilities is and from the two outsiders. They are rituals; there is the enigmatic figure missed it; and it would be a pity if taken up by Colin Kapp. This is only also different from us: Ason is a cold of Nick Bruton, whose odd chromosomes this were to happen to one of the best one example from many; the whole of killing machine, and Inteb a civilised make him immune from the effects of first sf novels for years. The Patterns of Chaos is a heartrending craftsman whose feelings for Ason lie so the disaster, his appearances at crucial succession of missed opportunities. Any deep that he is forced to express them M.John Harrison has been closely moments mocking the characters' efforts moderately competent storyteller could through the enormous enigmatic structure associated with Michael Moorcock and to adjust with his easy familiarity with have made a very enjoyable read out of which slowly grows on the plain. "New Worlds" — he is the magazine's the new order; there are the mutants, Literary Editor, he has contributed semi-reptilian humans, in whom the fut­ Mr Kapp's basic materials, which include This is an historical novel which a strong plot and a number of very nice a number of stories (including some ure really resides; there are the land­ gives one a feeling for the vast dist­ Jerry Cornelius stories), and so

20 21 Books received (may be reviewed in lapsing into the cliches of action What sets this novel apart from the random. It illustrates, as it happens, future issues) writing, and Mr Harrison's style is usual run of fantasy is the quality of the one factual error I could find. lucid and clear. As a first novel it is Mrs Le Guin's writing, and the under­ W ollheim states that World of Null-A From Gollancz: The Gods Themselves — a considerable achievement in itself, and standing which she shows of her main preceded Sian, which is wrong: Sian Isaac Asimov (£1.80); Of Time and Stars a great promise of things to come. One character. The prose is unspectacular appeared in either 1940 or 41, while only hopes that Mr Harrison will resist Null-A didn't come out until 1945- Even — Arthur 0.Clarke (£1.30); The Wind but always excellent — calm, measured, from the Sun — Arthur C.Clarke (£1.75); the temptation to squander his talent on evocative. The story is full of drama I know that, and I wasn't even bornI sword-and-sorcery novels and Jerry Corn­ A Pocketful of Stars — Damon Knight, without ever resorting to physical Then there is the general slant of ed~ (£1.90); Android at Arms — Andre elius stories — he does them better than action for its own sake. The book is, the book. Wollheim has a rather sour Norton (£1.40); Other Days, Other ayes most, but is capable of so much more. of course, primarily for children, but dig at New Maps of Hell and complains — Bob Shaw (£1.80) like most good children's books it can that Amis's sf reading was biased thr­ be read and enjoyed by adults; it is in ough having been given "a guided and From Faber & Faber: Best SF Stories of no way 'written down'. The Tombs of selected tour through one particular Brian '..'.Aldiss (paper covered ed. 80p); Atuan can only add to Mrs Le Guin's publisher's sf mill" (presumably he Best SF — Edmund Crispin, ed. (paper The Tombs of Atuan already considerable reputation. means Ballantine). This may be a fair covered ed. 60p) by Ursula Le Guin point — but then Wollheim's own survey From Sidgwick & Jackson: Possible Gollancz; £1.25; 16Opp of sf devotes a lot of space to books Tomorrows, Groff Conklin, ed. (£1.60); which many people would not consider The Battle of Forever — A.E.Van Vogt Reviewed by John Bowles landmarks, books such as Andre Norton's (£1.60) Daybreak 2250 AD and Philip Jose Farmer's The Universe Makers 'world of tiers' novels, books which, as From Sphere: Macroscope — Piers Anthony (50p — this appears to be a Some critics who had. better remain name­ it happens, were all published by Ace by Donald A.Gollheim less, such as George Hay and Ted White, books. substantially revised version of the Gollancz; £1.50; 122pp have suggested that this sequel to A book, and is very much shorter than the There are other odd judgments, such Avon edition); Lords of the Starship — Wizard of Earthsea is a minor work in Reviewed by Malcolm Edwards as Wollheim's opinion that Kombluth was Mark S.Geston (30p. This is undoubted­ comparison to its predecessor. I would so warped and embittered that the uni­ disagree with this assessment — The ly one of the worst sf novels of recent verse could no longer accommodate him, Tombs of Atuan lacks the broad narrative years, although for some reason it seems For many years Donald Wollheim has and that's why he had a heart attack and to have attracted many admirers.); Year' s sweep of A Wizard of Earthsea, being been identified with the Ace sf list. died at 35- Overall I would say that as much narrower in focus, but it is no Best SF No.5 — Harry Harrison & Brian For years before that he was active a work of criticism this is pretty worth­ less finely realised. Aldiss, eds. (35p); The Ice Schooner — in the field first as a fan, then as less, while as a personal survey of sf Michael Moorcock (30p); Neutron Star — Ged, the hero of A Wizard of Earthsea, a writer and magazine editor. This it does contain a fair amount of inter­ Larry Niven (35p); The Pawns of Null-A plays a subsidiary part — though an book is a memoir of a life spent in esting material. I would think that — A.E.Van Vogt (30pT” important one — in this new book; in science fiction, an affirmation of most B.S.F.A. members at least would the old slogan 'Fandom is a Way of From Ban/Ballantine: The Pollinators of fact he is not identified until the find it interesting reading, and since Eden — John Boyd (30p); The Island of book is more than halfway through. Life' — and a highly idiosyncratic I think Gollancz deserve some return for The Mighty & The Children of LLyr — This is the story of Tenar, who at the survey of the sf field. taking on a project which on the face of Evangeline Walton (40p each}; 4 Days, 40 age of six is taken from her parents to it is commercial suicide, I'd suggest I always find it difficult to Hours — Riva Poor (75p) the flace of the Tombs of Atuan, where that you at least ensure that your assess a book about sf because I enjoy she is renamed Arha, the Eaten One, the library has a copy if your enthusiasm reading them all regardless. I suspect From Arrow: A Case of Conscience — James Priestess of the Nameless Ones — power­ doesn't stretch to buying it. Blish (30p); The Year of the (juiet Sun — this is partly because the existence of ful ancient spirits whose influence per­ Wilson Tucker (30p) suoh*a book goes part way towards aff­ vades the Labyrinth beneath the Tombs. irming that sf is important in some way Like a succession of priestesses before — it's not just one of my peculiarities. her, she is supposed to be the reincar­ nation of the original priestess (when If you share this feeling, whatever its cause, then the only purpose this review one dies, a girl born at the same time can serve is to let you know there's is sought out as her successor — like the succession of Dalai Lamas). She another one out, if you didn't know already. However, I can't help noticing leads out this rather dismal existence, a few things wrong with this book. until the day when she finds a stranger in the Labyrinth (which is forbidden Firstly, Wollheim writes horribly. territory). She traps him, but instead It’s a sort of ponderous American non­ of having him killed her curiosity impels style, where instead of pausing to find her to keep him alive. The stranger, of the right word the writer puts down the course, is Ged, searching for the missing wrong one regardless and then finds half of the Ring of Erreth-Akbe (one half some way of cobbling the sentence into of which is already in his possession. a fair approximation of what he meant The story then is that of Tenar's gradual to say. A perfect example is when he awakening under Ged's gentle guidance says of Van Vogt: "It is not an accident and their escape together from the Laby­ that his first fame-making novel was rinth and the evil power of the Nameless The World of Null-A... This is a Ones. typical example, but not one chosen at 23 22 Recommended”. It meant that at last I for writing then, and that taken up with was beginning to produce stuff worth the novels. taking seriously. The Muse was stir­ ring restlessly. I still didn't con­ MA: Will you write more shorts? sider myself big-time enough for the US magazines (having had my Bradbury PT: Well, I hope so. One I have to pastiches of some years before rejected write for an sf writers' workshop by them all). So I cast around for a at Milford-on-Sea, Hampshire, in October. UK publication. That was "New Worlds" Perhaps that will get me back into the — and Michael Moorcock was extremely habit. patient and exceedingly kind. My Shakespeare story, with a parallel MA: The moral tone of your fiction does­ universe theory, became "Fifth Person n't consort very harmoniously with Singular", published third in NW (and the permissive nature of much New Wave reprinted in NWQ2) after "The Post- writing, and it seems slightly odd that Mortem People" (written third) and Moorcock should have godfathered your "The Gloom Pattern", a Bradbury-ish first published stories. Perhaps al­ mcrk odiard thing which, said Moorcook, was better though Moorcock was in the saddle, "New than Bradbury because Ray always had Worlds" was at that time still trotting such happy endings. I applied my new on the route plotted by Carnell? maturity to one of the old rejected tales and it became "Mars Pastorale, or PT: You talk of a moral tone in my peter tate: an interview I'm Fertile, Said Felix" (NW 1968), took work. I suppose there is, inasmuch another one and de—Bradbury—ised it and as I do not concede the need for science it became "The Day the Wind Died" (F&SF, fiction (or any fiction) to use sex to April 1969). In the meantime, Joe Ross sell it. I don't write permissive fic­ of "Fantastic" had expressed an interest tion because I don't want to me assoc­ in "The Thinking Seat" (the short story iated with it. People, I hope, will which sparked the novel). appreciate my work for a strong story already familiar. My sf interest was MA: I’m always painfully intrigued about line or a memorable character, and not spasmodic, just a part of the general, how people discovered sf. Case MA: And what about work since then? for the coupling on page 57. Does a histories such as Brunner's (his grand­ growing literary awareness which took in writer have to change with the times? father's Heinemann edition of War of the Bennis Wheatley, Hemingway, Leslie Chat­ PT: "Fantastic" published another, That depends on him. Ideally, I want Worlds dropped in the nursery, his teris, John Steinbeck, William Saroyan, "Same Autumn In A Different Park". to be a writer (and this isn't such a father's landgirl's GI boyfriends "Ama­ James T.Farrell, with regular returns to Judy Merril took "Post-Mortem People" rare piece of vanity among us) who zing" left around on the farm) fill me Bradbury. for her SF12 and "Same Autumn" for her transcends trends and manias. Why Mike with an agonising jealousy of people who England Swings SF. Kyril Bonfiglioli found my work interesting? I'd like to were so fortunate so young. So let's MA: Can you say anything about your had taken "The First of the New Martyrs" think it was because he saw something begin by asking how and when you discov­ first attempts at writing fiction? (which is sf in the same way that that was good despite the lack of oedip- ered sf. I don't necessarily mean your first pub­ Aldiss's "A Monument to his Profession" al obscenities. I can't agree he was lished stories. is sf) for "SF Impulse". following the course plotted by Carnell. PT: Like Brian Aldiss, I discovered sf In fact, the opposite was true. Mike in Woolworth's. I'd passed through PT: My first attempts at writing sf The Thinking Seat came out in novel form from Doubleday in October 1969 and was anxious to produce a magazine in his the American comic stage and was now were heavily influenced by Brad­ own image and Compact Books, who publish­ bury — in fact, quite late in life (I Faber in April 1970- Gardens One to looking at American words, augmenting ed NW at that time, were also publishing had left my teens well behind). For Five was published by Doubleday in March "Detective Tales" with "Texas Hangers", Hank Janson, so that sex in print was no "G-8 and his Battle Aces", "Weird Tales" that, I blame my occupation of journal­ 1971 and Faber in April 1971. Doubleday will publish the latest novel, Country- novelty to them. and "Thrilling Wonder", mostly courtesy ism, which took all my creativity for a very transient kind of return. It was Love and Poison Rain, shortly. UK pub- of Street & Smith. My parents were a MA: I should say that the heart of The only when I stopped writing and started lishing arrangements have not been fin­ little perturbed by the sudden influx of Thinking Seat, and the source of its supervising as a newspaper sub-editor alised, but Fabers will not be involved. bikini-clad blondes in goldfish bowl inspiration, are the philosophisings of that I found things beginning to work Current work in progress is a piece in­ helmets, but when th y discovered by Simeon. What would you say the essence for me. triguing even to me by the directions careful questiO’Oj.iig that I was more int­ of his message is? erested in the hardware than the soft­ it seems to take of its own volition, MA: Your first published stories app­ and the working title is Okinawa Baskets ware, they allowed me to keep reading. PT: The message of The Thinking Seat? eared in "New Worlds" in 1967. or Something Wioker This Way Comes. Introduction to my first name sf author Basically it was ecological but a _ Ray Bradbury —— was by word—of—mouth I haven't written a short story sinoe lot of Simeon's Uncertainties, I suppose, recommendation in the first form at the PT: Yes. But my first writing success "Mainchance", for Anne McCaffrey's Alch- were my own (just as Latimer's asthma grammar school• Prom Bradbury I went to was nothing to do with sf at the emy and Academe collection, and the rea­ spray is my own) and his search for Eric Frank Russell, Predric Brown, Hein­ outset. I entered a story for the sons are domestic — my wife's father has expression a chronicle of my futility. lein, read in anthology rather than by British Argosy Magazine's competition had a prolonged bout of illness and her any particular design. When I started to mark the quatroaentenary of Shake­ mother, very dear to both of us, we nur­ noting the names, many of the works were speare's birth, and gained a "Highly MA: In your second novel, Gardens One sed through terminal oancer. Little time to Five, I was particularly struck 24 25 by the stylistic device of a naturalist­ posed to make a secret of those views, hardy perennial: what do you think chat about imaginary technical prob­ ic story line (the Scarlatti episodes) either. is going to happen to sf — hard v. lems. Doherty's point was that al­ intersecting scenes of a symbolic nature soft, outer v. inner, genre v. mainstream though Larry Niven appears to have (the de Bergerac dew-gatherers and so MA: I'm sure that's right. I wouldn't Aristotelian v. Platonic, or whatever given a new lease of life to hard core on). Here again the novel seems to be have guessed at your particular you want? sf, the stuff is really redundant. inspired by a species of controlled beliefs from your fiction. I would anger that this planet makes such a simply have said that you were an (in­ PT: Sf will not go the way I want it PT: The writings of people such as mess of ordering its affairs. creasingly rare) example of a writer to go or the way you want it to go E.E.Smith and Heinlein were valid with a moral viewpoint. It was Judy or the way any of us want it to go — because they were on top of the tech­ PT: A while ago I spoke of journalism Blish who first told me that you were a only the way we all make it go. If nologies existing at their time. To as a setback. At that stage it Jehovah's Witness. I solemnly assured that sounds trite, I'm sorry. The have somebody do that today is wasted was. Today, an involvement with facts her that you weren't, without myself words may he tired but the truth of exercise. There are new sciences is an essential for my style of work. really knowing what it meant. And them is inevitable. which have to be encompassed, research­ I think you want to ask me later about Malcolm Edwards is most insistent that ed and understood thoroughly, before my being a Jehovah's Witness — well, I should discover how your Jehovah's MAi Sure. But at the reoent Spec­ the same impact can be made by any of this touches on that, too, because it witness beliefs harmonise with your sf ulation Conference, for example, today's aspirants. By this token gives me a millenial outlook: that is, activities. Is there any conflict? Geoff Doherty made the point that tech­ Larry Niven, although I enjoy his work not a blind acceptance of dogma, but a nological innovation is now so abundant greatly, has only sentimental value. recognition of present events and con­ PT: My viewpoint makes me favour the in actual fact that the old hard core ditions as having a religious signifi­ more realistic approach to sf — style of sf is boring. I think of such MA: Thanks a lot, Peter. Now let's cance. It is not unusual in any scientifically feasible rather than un­ things as Tom Godwin's "Mother of In­ have some more vino. Christian faith to believe that man bridled imagination — and that makes vention", a typical "Astounding" tale cannot make his own salvation — what stories of alien beings and alien plan­ of the early 50s, which consists al­ — Mark Adlard, 1972 makes my particular persuasion so vital ets less likely from me, though not most entirely of imaginary technical today is the abundance of secular impossible as symbols, since even the facts to verify that belief. scriptures use such beings as symbols. If anything, the standpoint makes pro­ Be Gardens: when the League of Nat­ Continued from p. 14 ions (later the United Nations) was ducing sf more of a challenge, since I have to seek a denouement which stands formed in 1923, a group of American the flesh from what I had expected: up to the cold light of day. I strive slotted in to the limited time remain­ clergymen described it as "the express­ very short and very broad, so that one to entertain and marginally suggest to ing. Having to first transcribe the ion of God's will on earth". This must felt he would occupy the same area of people that they look at things in a James Blish talk before I could start , rank as one of the greatest arrogances, space lying on his side as he did st­ certain way. That is not being doc­ work on it also delayed matters consid­ particularly in the light of subsequent anding up. As a lecturer, he'd make a trinaire — it is pulling no dirtier erably. Anyway, I can see now why very violations of humanity by the said sac­ good tobacco-auctioneer — his delivery trick than the most honest sf writer few people produce bi-monthly fanzines. speed was about 500 words a minute, red assembly. By writing Gardens, I pulls: that of inviting the audience to The equipment being used — an Olivetti wasn't evangelising. The trial scene at what seemed like 120 decibels. I participate in the vision. portable — is not ideal for the purpose; uses only the legal guidance of the was sitting near the back; I pity those it doesn't type a sharp enough, black further forwardI The slides themselves U.N. Constitution — and nobody can say MA: Your third novel will be published enough page to get the best results from were magnificent, and it would have been that citing Ulster, the Middle East, shortly in the States. Can you photo-offset reproduction, so if some of nice if the publishers had completed the Congo, is partisan. And whatever tell us any more about it, and give us this issue comes out faint, as some of else I write will be first of all comm­ their publicity work by sending us a the last did, it's probably not all the any news of your future plans. entary on the world situation as I see review copy of the book. However, while printers' fault. If there is anyone out it, secondly pure fiction, and only co­ taking advantage of the free drink there with a decent typewriter (ideally PT: Country Love and Poison Bain is to incidentally cognisant of my religious afterwards, I was looking through a copy an electric) and a fair amount of spare do with chemical warfare, and rather beliefs. I'm careful not to thrust my of the book with Philip Strick, and time (or an underemployed secretary) I more practical intrigue than straight­ views down people's throats under the neither of us was much impressed with would be delighted to hear from him. forward sf — though, as I say, the dev­ guise of legit sf, but I am not dis­ the paintings as reproduced therein. ice is fiction and the situation scient­ They seemed very flat in comparison I was a little stung by a review of Vector 60 in Locus, which praised the ific. It is also a study of patriotism with the slides; nevertheless, the book — its different meanings to the differ­ is worth a look, and is very reasonably contents but criticized the layout, since ent characters involved. Okinawa Baskets priced (I'm being vague here because I although I recognize that parts of it were sloppy, there were other parts (such is about germ warfare and at such an can't remember exactly how much it was; experimental stage presently that any I think it was £1.75 though). as the heading for the John Brunner more specific description might well turn article) with which I was rather pleased. out to be contradictory if not downright This time, I've standardized it com­ inaccurate. After that comes a hardcore pletely, to see how it looks. I would sf novel for my son, Mark, tentatively appreciate any oo’mments and suggestions titled The Man Who Talked With Earth­ about the physical appearance of Vector quakes, and another experimental piece A few words about this issue of Vector. as I certainly do not claim to be a set in the African city of Zimbabwe and Firstly, you may or may not have no­ brilliant graphic designer. focussing on guerilla warfare 1980's- ticed that it is nearly a month later than was hoped. This can't be helped: The cover for this issue and all the style. with part-time work to do as well as interior illustrations are the work of my full-time job, Vector has to be MA: And finally, can I put forward the 27 Continued on p.39 26 he writes. To consider any sensible the reviewer — if only because some advice he can find, but still to stamp reviewers might be as dogmatic on what his work with his own style. is good and bad in the printed word as a flat-earthist might be on the shape of One of the hazardous consequences of the Galaxy. being published is that a writer is offering himself and his work not just Likewise, he will regard any suggest­ as something which might or might not be ion that he should stop writing because idolized, but as a potential target for the reviewer did not like his book, as sneering attack. All budding sf writers laughable. Publication is still a matter should bear this in mind. of contract between the publisher and the writer. And reviewers who delude Nevertheless, when a writer reads a themselves into thinking they have a review of his own work, he does owe it a duty to protect the public would all do sort of duty too — to see if he can better as publisher's readers (or table­ gain anything worthwhile from it, re­ thumping on a censorship board or some­ gardless of its attitude. I don't say thing), where they might be in a better this will be easy, for he wouldn't be position to obliterate manuscripts human (or humanoid, for that matter) if before they ever get published. the mail response he wasn't perturbed by a review which wades through him like a demolition Briefly then, a writer's attitude party. But he also wouldn't be a writer should be this. If the review praises worthy of his intentions if he hadn't him, he should regard it (naturally the gumption to put things into some enough) as encouragement to get on with sort of perspective. This means he must further writing. If it knocks him, he recover his cool, not allow himself to should get on with his writing anyway, be unduly swayed by the reviewer, and in order to forget the review. try to look upon the situation from a I read somewhere recently — I think Kenneth Harker diplomacy, or what have you. He should logical viewpoint rather than an emotion­ it was Ken Seager quoting James Blish — be the last to attempt any final assess­ al one. He must tell himself that no that a destructive review is a cliche Guisborough ment, in case he is accused of delusions one can impose absolute standards of used by writers whose toes have been that he has written a masterpiece. what is good or bad in any literary work trodden on. This struck me as a neat Second, if he is more than just a dabbler (sf or otherwise) — if only because and fair assessment; but one might also at writing, he should regard arguing literary yardsticks change as sure as with reviewers as a waste of time anyway add that a destructive review is the Dear Mr Edwards It was considerate of the Universe is expanding. reviewer's exhibitionistic way of say­ when he can be getting on with more Dan Morgan to hope ing he didn't enjoy the book. Anyway, creative writing. Writers should be more The chances are he will be able to do that I was not a mem­ it is up to the writer to cultivate interested in construction than destruct­ this if he has been hardened by the ber of the BSFA, so that I could be protective toecaps; and if he is per­ ion. adversities of his previous writing spared from reading Pamela Bulmer's re­ experiences. sistent, he will do this, even if' he view of my novel, The Flowers of Feb­ So, on reading Vector 60, and finding only sells a small part of what he First, he may have tolerated many ruary, in Vector 59 — but just for the that Dan Morgan had quite voluntarily writes. I like to think my toeoap armour rejection slips before having any of his record, I am a member (though a some­ spoken part of my mind for me, I felt I is pretty sturdy after some twenty years work accepted in a paying magazine. He what silent one) and I did read the re­ should at least acknowledge his remarks linked with the writing game — espec­ might also have faced the disheartening view. — if only to save him the effort of ially after wading through something situation of having work accepted, then steering the conversation in other di­ like four typed drafts of inverted Dan happens to be the first published later returned before publication because rections next time we happen to meet and icicles to produce The Flowers of sf writer I ever met (in 1954, I think), the magazine is either going kaput or he shakes me by my not-beautiful but February. so let me reassure him — though I'm sure changing its policy. And he might have human hand. he must realise — that by now I am suff­ had to wait even longer before someone iciently aware of, if not hardened to, I think perhaps this is the time to takes sufficient note of any published the. eccentricities of the writing world address a few remarks to the aspiring sf novel to decide to review it. So what­ not to be put off by one solitary review. writer — and I am sure there must be ever the tone of the review, he has al­ Still, I take his point that such critic­ many in tbe BSFA — on what his attitude ready been initiated. Dan Morgan ism could certainly deflate someone who should be to reviews. is fortunate enough to get a book pub­ Furthermore, if he is a sincere writ­ Spalding lished soon after embarking into this Reviewers, like people, come in all er he should be as capable of assessing literary business without appreciating categories; and a review is only one the merits of a review as the reviewer the ups and downs involved. person's opinion. The chances are that claims to be of judging the writer's whatever attitude it takes — whether it work — if only because during perhaps When I read Vector 59, I refrained from pans or praises him — someone somewhere years of apprenticeship he has received Dear Malcolm Yes, you did detect a comment. It isn't my intention to take will think differently. It is the many helpful comments from editors and note of sarcasm; which up swords or sorceries with Pamela Bulmer, privilege of a reviewer to adopt an publishers. And even if he assesses the may have been a mistake for one or two reasons. First, I don't aggressive viewpoint if he feels like useful content of the review to be as on my part in dealing with a matter of believe it is a good policy for a writer it; but it is still a writer's duty to low as two percent, he should still have such serious concern. Your other comm­ to start commenting on reviews of his own himself to at least have faith in what more brains than to start arguing with ents are, however, way off target. I work — out of considerations of ethics, 29 28 holding child's hand and leading him to certainly didn't say that I found crit­ "Criticism of a book after it has Graham Charnock the top of the hill make the sunset beau­ icism of my work of no help to me. There been published is pointless." This tiful or the child aware of its beauty? have been several occasions when I have seems rather a dogmatic assertion, Willesden Regis been very grateful for criticisms and although it may be true in some Ah, and you speak of style, Pam, and suggestions made upon my novels, and in cases. There was a TV programme on how, "The sf writer has, after all, an each case I have acted on such advice Alistair Maclean recently in which he extra dimension to convey to his read­ to the benefit of the work concerned. I said that ever since he read the first ers, and cannot therefore afford to waste Dear Malcolm Of course I haven't read am talking of course of the only kind of review of HMS Ulysses, which panned it, a single word." Would that you had was­ Vector, but I have read, criticism which has any real value to he has never looked at another review ted a few yourself to explain this mys­ with a kind of masochistic the writer — criticism by a professional of any of his books. He should worry. terious extra dimension that apnears to delight, Mrs Bulmer's contribution to the editor who is prepared to put his — or However, one suspects that there are make more demands on the sf writer than same. It's splendidly simplistic. Why her — money where his mouth is. other writers, of whom you are not the mainstream writer. does it smack so much of a child's primer one, who are interested in the re­ Criticism of a book after it has been in criticism? The schoolma'am trying to It is perhaps mean to point out that views they get, and may even take no­ published is pointless. The author's impress upon slightly truculent children "she moved like a gazelle", the first of tice of them. Furthermore, of course, part in any such work was over anything the basic rules of critical appreciation? Para's examples of metaphor, is in fact reviews have other functions. People from a year upwards before, and if he is Pam at least knows the level of her aud­ no such thing. And I'm not sure her read them; as a result of reading a professional he will havg written at ience, knows the standard of literature second, "The bed was made for chastity them they may or may not buy a book least one other book since. It might be they consume, knows the quality of crit­ and early rising", is metaphor in her (or, more probably, they may or may argued that even though the horse has icism the field can expect. And, as is own terms either. Where the selective not order it from their library; but long since bolted adverse criticism may evidenced by her article, is prepared to comparison? It certainly seems no better this ultimately has the same effect close the stable door against the emer­ give it. or worse an image than Harker's poor as the volume of such requests will gence of another of similar breed, but "The hardwinters were going insane." determine whether the library buys So, it's a shallow article; to poke at this isn't true either. If I have one copy of the book, or a dozen.) it perhaps gives it more stature than it As for critics, I think a lot of learned anything in 20 years of fiction So a review can be useful both to deserves. But I shall be generous and critics deserve respect, the most des­ writing it is that each book is a one- the public, as a shopping guide, and poke away. "The prime object of reading erving being those who have retained off project, with its own particular to the publisher, as a reasonably fiction is enjoyment" is a statement that some sense of humility and of the cos­ problems and — thank God — delights. cheap advert. This is all self- seems to beg a good many questions, not mically absurd. Readers and critics are Come to think of it I may have learn­ evident. It seems to me (and per­ only in the direction of the term 'enjoy­ basically the same breed; they live in ed one other thing. The Spaniards put haps you'd care to refute this) that ment', which Pam halfway answers, but in submarines. Critics are those canny it this way: 'Tonto es el que mira at- a writer who dogmatically disavows that of 'prime'. Can't fiction be writ­ enough to have found the periscopes ras. Mientras hay camino adelante el any interest in criticism after a ten and read as education, as the folly and hence some small sense of location. caso es andar y andar.' Which being book is published shows himself to of the foolish, as a trial, as a bleating But still, they breathe the same air as (veryT”freely translated means: 'Don't be interested in one thing and one cry of meaningless communication, as their less-sighted fellows, suffer the sit around brooding about your last thing only: selling enough wordage to sweetly 'enjoyable' as a shot of junk? same stench and meanness of entrapment. book — get on with the next one!' make a living. Nothing at all repre­ Okay, accept enjoyment as one of many Perhaps their vision may even make them (++ Very freely! You can't take liber­ hensible in that, of course; but I motives equally valid and primal for a little more crabby. How else account ties with a man who got a grade 3 'O' suspect it does not describe the reading the stuff. "Good analytic crit­ for Pam's delight in dissecting a very level a mere 6 years ago. It seems to majority of writers. icism can help to enhance this enjoyment bad book, the easiest task in the world have more to do with roads ahead to for the reader by sharpening his aware­ for the poorest critic. No, it won't As for 'accurate criticism': it's walk along, with the Lone Ranger guard­ ness." No, love, only good writing can do, it won't do. All hands to the ing your rear. Excuse me. ++) the kind of meaningless guff you get do that, else awareness is not awareness hatches. I look forward to reading when you're typing stuff into the but a kind of parrotry. Does father Pam's first novel. Incidentally, what is this accurate letter column on Wednesday, knowing criticism you speak of? Until we have the thing has to be at the printer's computers writing books and computers on Friday. Not quite meaningless, criticising them, such a thing is mani­ though; nor can I think of a better festly impossible. There are no right term on the spur of the moment. I answers in the writing of fiction, just wasn't talking about objective crit­ a series of subjective, intuitive choi­ icism; I don't believe in it any more ces. And nobody can tell you how to do than you do. What I was getting at it. I devour books on technique, but in was criticism, perhaps in itself co­ the long run a writer — any artist in vering a wide range of opinion, which fact — is alone, doing his own thing is nevertheless based firmly on the for better or for worse. book in hand; which may differ in in­ terpretation and assessment but does ++ Well, Dan, I'm sorry if I misinter­ not misconstEne and misunderstand. See preted you, but you did say: "I what I meant? ++ question very seriously Pam's.... suggestion that criticism is of some help to the writer." Obviously you were referring to reviewing-type criticism rather than editorial-type; but then, so was I. You say now: 30 31 Cyberiad but didn't like The Invincible Lem is certainly his inferior intellect­ if they or Lem had to depend upon my II.B. On consideration of the above it at all; and yet it is a fine example of ually. seems a shame to have spent so many efforts in Hew York, they already would another kind of sf... In any case, this words on someone who bored me so be lost. I have no monopoly on Lem, and was in the pre-McGraw-Hill days, and all llhich brings me to another of Rotten­ stiff, and to have said nothing nobody has a monopoly on recognising the other Lem books will be translated from steiner's claims. "He is a systematic about something that gave me great qualities of any writer: and if I were Polish. And it is an indication of the thinker. There is nothing of the fuzzy enjoyment, namely, the Howett the only one to think Lem great, then he importance the publishers attribute to thinking... that mars the work of the piece. The trouble is, I am fre­ would not deserve to be translated at Lem that his first books are now being people who are today acclaimed as 'sf quently uncritical of that which all. Ho, what I write is of little im­ translated anew, for the translations thinkers'". -Solaris is full of fuzzy gives me enjoyment. I suspect many portance, and probably serves just to were a mess (and this is why most of thinking. A small example is Lem's people are. I suspect critics teach fandom how to spell Lera's name. the books mentioned in Vector 59 have statement of the "commonsense view" enjoy very little. There is only one thing that matters, and been postponed until 1973)• The work is that the planet "stabilised its eccent­ in this I was extremely lucky. This is now being done by Prof. Michael Kandel, ric orbit by virtue of a self-generated to make the texts themselves available. a professor of Slavic languages and mechanical process, as a pendulum keeps That I succeeded in talking Faber & literature, a capable man and Lem enthu­ itself on a fixed, path once it is set Franz Rottensteiner Faber into doing Solaris is much more siast, who arrived as a Heaven-sent in motion". Since a pendulum keeps it­ important than all my English language gift. self on a fixed path by obeying the Austria fanzine writings combined. (Here Bruce's laws of mechanics, this is a far from guess is correct: 1 wasn't in contact ++ I'm very pleased to hear it. My comnonsensical view of a planet that with Lem then, and only later did it chief doubt was over the translat­ doesn't obey the laws of mechanics. A occur to me that I might do more for ions, and if th^r are being done more serious example is the absurd sec­ straight from the Polish then so much Bear Malcolm I would be grateful if him if I became his agent.) I simply tion where Kelvin convinces himself that the better. ++ you would correct a few was lucky: first in Germany, where I was he is not merely suffering from a con­ errors in my piece ((in offered an sf editorship (and this as the sistent delusion; in fact his elaborate Vector 59)) that Lem called to my atten­ result of editing my fanzine ,uarber experiment only proves that if he is tion: 1. He wasn't decorated for his ac­ Merkur); and later there was the opening suffering from a consistent delusion, then a consistent delusion is what he is tivities during VIHII — the decorations in the USA. Tony Sudbery suffering from. Thinking doesn't come were given to him entirely for his lit­ I don't think y.ou have to look much fuzzier than this. There are a erary work; 2. Although he published forward with "very slightly mixed essays on test psychology in Zycie Nauki, York number of other illogicalities and in­ feelings" to the Lem explosion. For these had no connection with his own consistencies in the book; you touch on consider this: if I were the great agent some of them in your review (and I've work; 3. And of course, Tvardovsky should who knows everybody in publishing, and be Tarkovsky — Tvardovsky was the late described others in my review in Spec­ Lear Malcolm I hope I'm not too late ulation) . editor of Hovy Mir. is able to sell any book, the fact that McGraw-Hill have contracted for 11 Lem to react to your two Finally, Rottensteiner enthuses about I fear Bruce Gillespie is very unreal­ books (and are soon to contract for articles on Stanislaw "the knowledge, the depth, the width of istic in his letter to you, although he two more — without having published Lem, and to register a dissenting op­ interest, this unique set of talents". has a point in asking why I am writing even one so farl) might just be an ind­ inion. I've always admired Franz Lem's interest may be wide, but its depth about Lem in the fanzines; but this is ication of my superior salesmanship. Hottensteiner's criticism; his knocking is illusory; much of his knowledge is closely connected to the question of why But this I am not and so there is only voice is a refreshing element in the spurious. I think Rottensteiner must I'm writing for the fanzines at all, or one explanation for a major US publisher critical scene. So I'm disappointed to have let himself be hoodwinked by Lem's indeed about sf. The answer is simply taking such a plunge into sf: Lem's find that now that he's found something that I enjoy doing it ... And frankly, I superior qualities. (And I happen to to be enthusiastic about he's lost his trick of producing utter nonsense with an air of great authority (for examples am not convinced that writings in The head as completely as one of the fans know the extent of Lem's success else­ see my Speculation review again). Ho Listener or Times Literary Supplement where, and not only how much has been he's always knocking. All I've got to would have had any more effect than written on him but also by whom and how.) go in judging Lem is Solaris; but Hott­ should stick to destructive criticism: he's much better at it, and it's more writings in SF Commentary (which have And there are already hopeful signs in ensteiner does put this forward as one valuable, than the constructive crit­ close to nonej besides being that much the English speaking world, too: Prof. of the four books on which he bases his icism in this article. more difficult to achieve. Has Bruce Ketterer and Rrof.Suvin in Canada; Prof. case for Lem, and to my mind Solaris considered how much fiction is being Kandel in the USA; Peter Nicholl in the utterly fails to support the claims he Obviously I disagree with a lot of reviewed in, say, TLS; and how much UK; pros like James Blish or Brian W. makes. your review of Solaris. There are fiction in a foreign language? Even if Aldiss; fans like Bruce, you, or James some points where we agree, particular­ Let's take these claims one by one. ly those inconsistencies in the plot. I had succeeded in placing one piece in Mark Purcell in the USA. Not bad for "Lem is a highly original writer." Hot each of these papers, does Bruce think a beginning. But you seem to think they don't mat­ in Solaris, he isn't. A great deal of they would have accepted a 2nd? And ter, whereas to me they add up to a I should like to know who it is who Solaris seems to me to be derived dir­ what is the real effect of one short picture of thoroughly shoddy construc­ thinks The Invincible dreadful? r don't ectly from Olaf Stapledon; you might review? (Yes, and how often and in tion. I don't see how you can call think so, nor do most of the people who almost say it is an attempt to write a what length is sf being reviewed in TLS?) Solaris "a fairly conventional mystery­ have read Mrs Ackerman's translation. Star Maker with human characters. In puzzle sf novel". Very few of its I fear Bruce's sentence "if the lit­ But the book is? in quite another vein particular, the long descriptive essays mysteries are explained; sometimes erary -world of Hew York ignores Lem, then that Solaris, a piece of hard sf, with that you find so striking in your review this is deliberate and justifiable I would have to blame Franz for not plug­ lots of technology, much simpler. I are an example of a technique that Stap­ (one of Lem's points being to do with know people (highly literate writers) in ledon was using quite uncompromisingly ging Lem in the right places" is wholly the impossibility of explanation), some­ illusionary. The promotion of Lem is the Germany who reacted similarly: one was over thirty years ago. In my opinion times Lem just seems to forget that he's business of McGraw-Hill, and theirs alone; enthusiastic about the elegance of The Stapledon is by far the better writer; 33 32 raised the mystery. For example, take Time for a few We—.1 so-Heard-Froms — the "Little Apocrypha", the book which with the emphasis on 'few'. The Gibarian refers to in his posthumous response to Vector 60 has just as poor note to Kelvin and which gives descrip­ as that to no.59. Still, I have hopes tions of Solarian phenomena which are that it will pick up (and if all the not accepted by most Solarists. This people who swore faithfully that they is introduced as a significant clue; were going to write next weekend, hon­ yet later these phenomena are described est, had done so, it wouldn't have been as well-known, and the Little Apocrypha so bad). Anyway, we also heard from: is forgotten. Like so many of the Ted Tubb, who liked the contents well other inconsistencies, this makes me enough but found the small type hell on suspect that Lem is being purely cyni­ his eyes. Sorry, Ted — I know it is cal; he wants to stir up an atmosphere rather microscopic but the reason, as of mystery, and can't be bothered to do you probably realise, is economic: we it fairly. have to get as much material as poss­ Still, I can't deny that Solaris is ible into the available space, by re­ a remarkable novel. But I would be ducing the type-size, or it would be sorry to see it hailed as a master­ completely uneconomic to have Vector news department piece while such genuine masterpieces as printed. Chris Bursey, who complained Star Maker and Ccpek's War With The about having to pay postage due on Newts (which also has elements in com­ Vector 60 in a letter which he sent edited by archie mercer mon with Solaris) remain so little known. without any stamp at all... Terry Jeeves, who enjoyed John Brunner's ++ I'll concede the point about Kelvin's piece: "He al-ways writes well — in delusion. In fact I noticed this fact I doubt whether he can write myself while reading the novel, but badly, dome of his examples seemed a had forgotten about it until I got bit anooryphal, but well illustrate his your letter — not through any de­ points — however forecasting or mirror­ THE IT'S NOT MY FAULT DEPT. Several mem­ GLOBE MISPLACED; SENSATION! It is gene­ sire to overlook Solaris's short­ ing society is only one facet of sf." bers had to rally known comings, but simply through a lapse Terry didn't go very much for Philip pay 2p "postage due" to receive their that fans and professionals of sf and fantasy have since time immemorial (well, of memory. (I should make notes Strick's column, though, diehard Vector 60. Please don't shoot the dist­ moderately immemorial) been wont to fore­ while I'm reading a book, but I Cotton, however, thought it was the ribution team; the blame lies with some can't: when I start to do it, I best thing in the issue — which shows anonymous servant of the Post Office at gather on the evening of the first Thurs­ stop getting through the book.) that you can't please all of the peo­ Highbury Park N.5 for telling us that the day in every month at a certain London postage was 2-Jp instead of 3jp. Never­ But the other point I don't see: it ple all of the time etc etc blah blah. tavern hight "Globe". A certain amount is a matter for debate what deter­ I wonder how many people have actually theless, we are very sorry that this of doubt, however, appears recently to mines the planet's eccentric orbit, got as far as reading this line. E.R. should have happened. have crept into the precise identity of and the scientists who favour the James wondered if "John Brunner may one the "Globe" in question. I recently commonsense explanation in accordance day rethink his 'destructive obsolete TURKISH? SWEDISH? If any member can heard tell of one unfortunate who sought with the laws of mechanics are those principles' since lotus eaters and high read either Turkish it in vain in-and-around Fleet Street, regard the planet as purely inanimate population density would hardly seem com­ or Swedish and would like to see a fan­ whilst I have just seen a plug for it (on a Novacon 2 progress report) locating and therefore seek an explanation patible except in rare Earthly paradises, zine in that language, I have one of each for its motion which will not con­ and every one of the principles he men­ which you would be welcome to peruse and it in Gray's Inn — wrongly spelt "Grey's" flict with those laws. Q.E.D. I tions seems to me a relative statement in to pass on to anyone else interested. at that! So one and all please take note maintain that the book is a fairly as much as "hard work,..lot of money... SAE to Audrey Walton (address on contents — the "Globe" tavern, Hatton Garden, is page). conventional mystery-puzzle, although greed...material comfort" are far from the onlie true Globe; all others lack the as I pointed out, Lem is not above the same things to individuals in the necessary authenticity — and, what is introducing the odd red-herring. (He same culture let alone in differing DAN MORGAN WRITES RE THE S.F.W.B. "The worse, lack the sf-oriented company that one seeks! (Underground to Chancery Lane is perhaps not quite the paragon of worlds." Mr James also made me glow with res­ literary virtue some claim him to references to the "sheer professional ponse to the last issue was a deadly hush or bus to where Gamages used to be, then ask for Hatton Garden.) (To locate it pre­ be.- All of the important mysteries technical excellence of Vector...that apart from a letter from John Brunner — of the novel are explained, or at rakes it a pleasure to read". And last this despite my appeal therein for mate­ cisely, it is on the corner of Hatton least laid open. The inconsistencies but not least (to drag in another of ray rial. How can one run a forum for writers Garden and Greville Street, and despite lie in a few incidents near the begin­ vast repertoire of cliches) Andrew Prior if the writers don't have anything to what everyone tells you Farringdon is the ning of the book — you mention The thought that reprinting G-o-H speeches say? John's letter is very interesting nearest Tube station, though there's not a lot in it. — MJE) Little Apocrypha; I still prefer Snow's was a bit of a bore, just used to fill as always — but apart from that I would hysterical reaction to Kelvin's arr­ space. Both he and Chris Bursey mention­ have to write the entire issue myself, ival. Where we don't agree is in your ed the small size of the news department, which seems a pretty pointless operation, LIBRARY NEWS The recent referendum assertion that these amount to a "tho­ as if it was my doing. Not so. The only more or less like talking to oneself. produced an overwhelming roughly shoddy construction". They reason, as Archie said, was that it foll­ This being so, unless something drastic majority in favour of the Association's don't seem anything more than trivial. owed fairly close on the last duplicated happens, I can't see there being another book-library being loaned on a long­ Mind you, I can see that you found it Bulletin and there just wasn't much news. SF Writer's Bulletin. Pity, but there it term basis to the S.F.Foundation at is." much more mysterious than I did — Much more this time as you can see. And the North East London Polytechnic and Gibarian's posthumous note, indeed! ++ that will have to be all. Please write. 35 34 follows: Artist — Karel Thole (Italy); all your writings and was a person you the arrangement is now being proceeded Gordon Larkin (20): 32 Victoria St., ‘..hit­ Professional Magazine — Nueva Dimension would all have been proud to know. His with. The books will, naturally, stable, Kent. Writes songs and poetry, (Spain); Non-SpeolalIned Magazine — hobbies were astrology, stamp-collecting, still be available for members to bor­ plays guitar and dreams. USA. Viata xtomaneanoa (Rumania); Amateur Maga­ chess-playing, was very interested in row — as, in the meantime, they still John Melville (38): 6 Eskview Gro., Dal­ tape recordings, reading, but his true are at Elaine Wash's address. (The zine — Speculation (wnglund — and congratulations to Pote Weston!); vocation was to be a ’..Titer. His family magazine library, containing more keith, Midlothian, Scotland. Bibliograp­ hy, D.I.Y. UK, USA. (Members may be in­ Comics — Lone Sloane (France). The wish you all the best in your endeavours issues of more sf magazines than I care in your work and hope you may continue to think about, remains in the care of terested to learn that he heard about us awards were made tlu’ough a mixed system from the BPS.) ■ of popular vote and a jury constituted to give as much pleasure to many, many Joe Bowman, of Balinoe, Ardgay, Ross- more people as you have to our son. God shire, Scotland, who is only too del­ Robert B.Taylor (55)' 23 Great Hay, Sefton by the European representatives present at the convention. The main award at bless you all." ighted to loan them out on the Assoc­ Bootle, Lancs, L30 OQT. Rosicrucianism, the SF Film Festival which preceded the iation's behalf. To a certain extent, mysticism, stamp collecting, Red Cross. convention went to the American film he can of course also give guidance as MEMBERS SMALL ADS (which'appear free) to what can be found where.) oilent Running, which should get its RCUHB THE CONVENTIONS UK premiere shortly. Eurocon 2 will be held in Brussells in 1974. (The PHILIP PAYNE, 15 Wilmerhatch Lane, Epsom, INFORMATION BUREAU The Association is NOVACON 2 (Birmingham, 4th/5th November above is extracted from a report by apologises for any letters happy to announce 1972) has issues its second Eurocon chairman Gian Paolo Cossato unanswered or fanzines un-locoed, but he that Mr. Alan Myers, who teaches at a Progress Report. The event is shaping is in America and will not be returning up nicely from all appearances. Room which appeared in the indispensable grammar school and is an expert on Locus.) until late September. Soviet sf, has joined the Bureau. He rates at the official hotel (the Imper­ URGENTLY REQUIRED Doc Savage No.l (Man will be very pleased to deal with any ial Centre) run from £2.90 per night (+ TOLKLaN SOCIETY NEWS The Tolkien Soc­ of Bronze): Killing query in this field. (As usual, all 11,. service charge) for a single, pro­ iety of America, Machine — Vance (Berkley ed.); Book of queries for the Information Bureau portionately cheaper for a double. And for which Archie Mercer used to be Ptath ?200 Million Years AD) — Van Vogt; should be sent in the first instance Doreen Parker (of whom all readers of Vector must, surely, have heard!) is not British Agent, has now been merged into This Immortal and Isle of the Dead — to Audrey Walton — address on contents the Mythopoeic Society, for which Roger Zelazny (Ace editions); and early page. A stamped addressed envelope for simply the fan-guest-of-honour as was Archie Mercer is in no way responsible. Ace books, especially "D's". Write the reply would be appreciated.) thought, but the Guest of Honour. This Queries concerning existing T.S.A. sub— Con looks as though it's going to be listing titles, condition and price re­ sciptions, as well as those concerning fun! quired to: Chris Bursey, 32 Melville Rd., CORRESPONDENTS WANTED John Gordon Cole membership of the Mythopoeic Society BIRMINGHAM, Bl6 9TJ. (26): 4 Villa Rd., Registration (which brings full det­ itself, should be addressed direct to St. Leonard's on Sea, Sussex. "Other" ails) 50p to the Registration Secretary: the latter body at P.O.Box 24150, Los MODELS EXHIBIT FOR 1973 CONVENTION Here interests: Wargaming, chess, astronomy. Jeffery D.Hacker, 92, Wisley Ray, Birm­ Angeles 90024, USA. is a Prefers correspondents from: USA, Canada, ingham, B32 2JU. Cheques, postal orders This of course makes no difference chance for all sculptors and model makers Australia. etc. should be payable to NOVACON. to our own home-grown Tolkien Society, to exhibit their work at the next SF Con­ Barry D.McCann (23): 32 Haven Lane, Eal­ vention. I (Kenneth Mardle, of 44 Charles OMPACON 73 is the title of the 1973 for which Archie Mercer (address on ing, London W.5. Flaying in a jazz band, British S.F. Convention, to contents page) remains Treasurer. Bradlaugh House, Haynes Close, Tottenham, London, N17 ORD) am willing to organise Marx Bros., social work, travel. Any­ be held as usual over the Easter week­ (£1.00 for four issues of The Mallorn, where. end. The 1972 Convention announced a plus any intermediite publications.) a collective exhibit of Convention mem­ bers' work. Will all those BSFA members Robert L.Bartram (21): 116 Turners Hill, hotel — found that the announcement Professor J.R.R.Tolkien himself has (and other fen) write to me who are in­ Hemel Hempstead, Herts. Ancient history, was somewhat premature — announced a expressed his willingness to be the terested in constructing models of b.e.m.s mythology, most fields akin to sf. USA, substitute elsewhere — and settled Society's Honorary President (after all, and various other creatures, or those who Japan, Engl and. finally on a third somewhere else it is really his fault). He has recently again. OMPAoon is playing it cagey at returned to Oxford and is settling down would like to try. I shall give them ad­ Brian Robinson (20): 26 Marlow St., the moment, and its first progress in Merton College, but is greatly dis­ vice on materials, and size of models, as Westcott St., Hull, HU8 8NE. Reading, report, "Ompagress 1" will only commit tressed by some ill-disposed person well as on methods of model making. Any subject (even fringe SF/fantasy/astronom- science, life. USA, Australia, Canada. itself to saying that the two favourite having stolen his M.B.E. medal, as well (Not to be confused with the other Brian ioal/entomological) would be suitable if locations this time are both in Bristol. as some of his late wife's jewellery. Robinson, of Manchester!) However, under the chairmanship of Ken (It should have been a knighthood — people would write giving some idea of what they have in mind. Small models Valerie M.Humphrey (Miss) (28): Holly­ Cheslin of Stourbridge, it is in good you can't steal that 1) (and those already made and hanging hands. Registration fee is 50p> Sec­ wood, Billesley Lane, Portway, Alve- around the house somewhere) would be con­ retary-Treasurer is Fred Hemmings, 20 OBITUARY William G.Ritson died peace­ church, near Birmingham. Astronomy, sidered. This collective exhibit will (l 'Beech Rd., Slough, Bucks, SL3 7DQ. fully on April 21st 1972. His TV, reading, writing. UK, USA, Austral­ propose) be run and organised by me in the ia, Canada. mother writes: "His father, sister and EUROCON 1 (Trieste, Italy) is now over. myself wish to thank you for the great Artroom. Please write, anybody who is Brian P.Dewell (32): 20 Thirlmere Ave, Total registration was about pleasure receiving your bulletins gave willing to make models for exhibition. Horwich, Lancs. Drawing, painting, 780, with 372 attendees from 24 count­ to him. He was a writer, actually saw HELP YOUR FRIENDLY VECTOR EDITOR Enter­ natural history, fencing. USA. ries. Particularly encouraging was the his first installment of his children's ing my Robert P.liuncey (20): 50 Burlington Rd., representation from East Europe, with story in print before he died, of which second childhood without ever having pro­ Enfield, Middx. Old sewing machines and attendees from Hungary (16 people), we are very proud. He had muscular dys­ perly left the first, I am anxious to typewriters, records, geology and miner­ Rumania, Czechoslovakia and Poland, trophy and it took untold courage and locate copies (to buy, or just to borrow) alogy; very interested in bibliography & while a representative from East Germany determination on his part to do what he of Lost Men in the Grass and The Death of is thinking of doing some checklists. had to drop out at the last moment because did. He always took great interest in Metal, both by Donald Suddaby. I would USA, Canada, Brazil. of illness. The Europa Awards went as 37 36 also be glad to hear from anybody who E.C.TUBB (67 Houston Rd., London, SE23 NEW MEMBERS knows Eric Prank Bussell's address. — 2RL) is after the following Continued from p.27 1257 Bartram, Hobort L.l 116 Turners Hill, Malcolm Edwards (address on contents page) magazines: Hemol Hompntoad, Herts. HOE IS A FAN GROUP FORKED ??? Graham R. Air Wonder Stories: Dec.29; Mar.30. Andrew Stephenson, to whom, many thanks. 12J8 Cole, John G.: 4 Villa Rd, St Leon­ ' Poole, of Wonder Stories: Mar. & July 31. And apologies — the printers managed ard's on Sea, Sussex. 23 Russet Rd., Cheltenham, Glos, GLJl 7LN, Amazing Stories: April-Sept 1926 inc.; to lose most of the fine detail from his ..ants to know — also, how to keep a group Feb, July, Aug, Sept, 27. 1252 Dewell, Brian P.: 20 Thirlmere Ave, cover for the last issue. I hope this in being once it exists. Any advice of Amazing Stories Quarterly: Spring 28 Horwich, Lancs. one will fare better. Its . title, in­ any sort is welcome (apart from "Forget (vol.l, no.2) cidentally, is "The Explorers". 12J9 Kirk, Peter D.: 24 Moseley Ave, the ideal). Astounding Stories: Feb, Dec, 43; Feb, Wallasey, Ches. Mar, Aug, Oct, 44- YOUR CHANCE TO RULE THE GALAXY 4Q00AD, Things to come dept: live a number of Strange Tales: All issues 1248 Duell, Anthony A.: c/o Armstrong Wadding­ orojects on the go, not all of which can Unknown Worlds: All American issues Cork Co, Hazelhurst Rd, Worsley, ton's new space game, is now being played be mentioned yet; but I can announce a Manchester, M28 4SQ postally in a small and eccentric fanzine And has the following to offer in trade: few forthcoming attractions. Next issue called War Bulletin. Issues are every 3 12J1 Humphrey, Valerie M. (Miss): Holly­ Air Wonder Stories: July 29 (first issue); will contain "To Barsoom and Beyond", a weeks, 5/20p in UK, plus 25p per game. wood, Billesley Lane, Portway, long extract from Brian Aldiss's forth­ Jan, Feb, 30. From Hartley Patterson, Finches, 7 Cam­ Alvoohuroh, near Birmtrham. coming history of sf The Billion Year Science Wonder Stories: Dec, 29; Jan, bridge Rd., Beaconsfield, Bucks. PS: Spree. There will also be material by Feb, Mar, Hay, 30. - 1253 Jackson, Robert A.t 21 Lyndhurst Rd, we also play Diplomacy and several Harry Harrison and, I hope, James Blish, Wonder Stories: Feb, May, June, 32; Benton, Nowoantlo-upon-Tync, NE12 9NT variants thereof, and carry news and Michael Moorcock and Philip Strick. June, 33; Oct, 39- articles on postal gaming. 12J5 Larkin, Gordon: 32 Victoria St, Amazing Stories: Jan, 27; Mar, Aug, Sept, After that, there will be an inter­ Whitstable, Kent. WANTED In OMPA mailings circa 1963-5 Oct, 28; May, 30; Jan, Feb, Mar, view with D.G.Compton, plus an analysis Dick Schultz of New York in­ Apr, Jun, July,. Dec, 31; May, 1260 Melville, John: 6 Holcviow Grove, of his work by Mark Adlard; an article cluded one of the earliest Diplomacy Jun, July, Aug-Sept, 33; Jan, Dalkieth, Midlothian, Scotland by Joanna Russ titled "The Wearing Out zines, Brobdingnag. These first issues Feb, Mar, 35; Oct, Dec, 36; of Genre Materials"; a reprint of Brian are now impossible to obtain in the USA, 924 Monteith, Charles M.i Faber & tldiss's excellent speech at Chessman- Mar, 39. Faber, 3 Queen Square, UC1H 3UA but there must be a number rotting away Amazing Stories Quarterly: Summer, 28; con (when I get around to transcribing among the piles of old OMPAzines sold Winter, Spring, 29; Spring, 12J4 Muncey, Robert P.: 50 Burlington it); reprints of Speculation con speech­ at Conventions. I will pay good prices Summer, 30; Winter, Spring, Rd, Enf-ield, Middx es by Edmund Cooper and John Sladek for them — say double original cost + Fall, 31; Winter, Spring-Summer, (ditto); an interview with American 357 Myers, Alan G.: 2 Little Rivoro, postage if in good condition. Am also Fall-Winter, 32; Spring-Summer author Gene Wolfe. Welwyn Garden City, Herts. interested in any other old Diplomacy 33; Fall, 34. zines. Hartley Patteron, Finches, 7 Wonder Stories Quarterly: Spring, 30; 1256 McCann, Barry D.: 32 Haven Lane, There will also be a series of Cambridge Rd., Beaconsfield, Bucks, UK. Winter, Spring, Summer, 32; Ealing, London WJ. articles under the general title "Author's Choice". These will form a VIEWPOINT is a /XX/XXXX raided fanzine, Winter, 33. 1250 Noyes, Ralph N.: 129 Beaufort St, parallel to the series of anthologies and No.8 reveals the dastard­ Chelsea, London SW3. SF PSEUDONYMS Halkett & Laing's Diction­ under the same title edited by Harry ly truth behind Vector 59. Copies are Harrison, in which authors select a going quicker than the Oz school-kids ary of Anonymous and Pseu­ 935 Noyle, Alastair B.: 32 Pemberton Park, Gelli Rd, Llanelli, Carms, favourite story and it is reprinted ish, so get your lOp to Fred Hemmings, donymous English Literature — a standard SA14 8NN along with their comments about how, 20 Beech Rd., Slough, Bucks, SL3 7DQ. reference tool — is currently in process of revision, and Gerald Bishop (10 Marl­ when and why it was written. We will And don't worry if you miss no.8: the 1249 Robinson, Brian: 26 Marlow St, borough Rd., Exeter, EX2 4TJ) has been be dealing with novels rather than next ish contains Conreps from Chessman- Westcott St, Hull, HU8 8NE short stories, and I think the results con and Eurooon. By the fans who sur­ appointed Consultant responsible for sf 1261 Taylor, Robert B.: 23 Great Hay, will prove very interesting. The vived the event I (Ad placed by Dave • entries. Only complete publications first three contributors will be Rowe, who appears to be implicated.) will be listed, not individual short Sefton, Bootle, Lancs, L30 OQT. stories within anthologies or magazines. Brian Aldiss, Poul Anderson, and 'CALLIOPE' Charlie Winstone is trying Anyone with information about anonymous CHANGE OF ADDRESS Harry Harrison. to compile a one—shot of or pseudonymous sf or fantasy books, or 1226 Burman, Sandra: now 27 Leaside Add the usual features: book Fan Poetry and Prose, and asks any would about authors who have had books published Ave, London N10. reviews, letters, news, and regular be Poets (&/or Prosicians?) to send their anonymously or pseudonymously, who wishes columns by Philip Strick (missing this efforts to him for inclusion in Calliope. to help should contact Gerald for further 788 Coney, Miohaol G.: now 10287 time but hopefully back next) and Please enclose s.a.e., should the mater­ details. Bowerbank, Sidney, B.C., Canada. Peter Roberts — and I hope you will ial need to be returned. Charlie Win­ 1219 Patterson, D.t now 4 Copeland Drive, agree there is plenty of interesting stone, 71 George Rd., Erdington, Birming­ At the same time, Brian Robinson and Paul Skelton are compiling a Directory of Newtownardn Rd, Comber, Co.Down, material to look forward to. ham, B23 7QE. pseudonyms of sf authors, which will cover N.Ireland. WANTED New Jorlds Magazine Nos: 173, pseudonyms used for writing outside the 182, 183, 184, 185, 186. Send field. This will cover short stories as STATISTICS offers to: T.If.Parfitt, 5 Ringlow Ave., well as books. Again, anyone with infor­ Members with inland addresses 239 Moorside, Swinton, 1427 JEX* mation should get in touch with Gerald (inc. Ireland and B.F.P.O.) Bishop (but please specify which of these * Note: according to Mr Mercer, this two works you can supply information for). Members with overseas addresses 22 postcode is M27 SEX. I take this to be, Total membership therefore 261 as it were, a Freudian slip. — MJE 38 Vector

Journal of the British Science Fiction Association

September - October 1972 ; No. 61 ; 3Op