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Home , Across a Billion Years, A Time of Changes, Balrog Award, Hawksbill Station, New Dimensions 1, New Dimensions 3

Philcon 87 The 51st Philadelphia Conference

Presented by The Philadelphia Science Fiction Society November 13th, 14th, and 15th, 1987

Principal Speaker

Guest Artist Tim Hildebrandt

Special Guest Timothy Zahn The 1987 Philcon Committee Table of Chairman Programming (cont.) Todd Dashoff Contents Green Room A Message from the Vice-Chairman Sara Paul Chair...... 3 Ira Kaplowitz Masquerade Philcon Highlights 4 Administration George Paczolt Principal Speaker, Secretary Science Programming Robert Silverberg... 6 Laura Paskman-Syms Hank Smith About Treasurer Writer’s Workshop Robert Silverberg... 7 Joyce L. Carroll Robert Silverberg: A Bibliography...... 10 Hotel Liaison John Betancourt Gary Feldbaum Exhibitions Pulp Magazines and Science Fiction 12 Operations ArtShow Guest Artist, Laura Paskman-Syms Yoel Attiya Tim Hildebrandt 16 Lew Wolkoff Joni Brill-Dashoff Rob Himmelsbach About Yale Edeiken Dealer’s Room Tim Hildebrandt 19 John Syms Special Guest PSFS Sales Donna Smith Timothy Zahn...... 22 Ira Kaplowitz Fixed Function? About Publications Timothy Zahn...... 24 Mark Trebing Babysitting Guests of Philcon 27 Margaret Phillips Christine Nealon Joyce Carr oil Eva Whitley Art Show Rules... 28 Joann Lawler Committee Nurse Registration Barbara Higgins Art Credit? Joann Lawler Con Suite Tim Hildebrandt: Dave Kowalczyk Rich Kabakjian Front cover, back cover, 4,7,17,18 Signs Janis Hoffing Wayne Zimmerman Den Charles Dougherty: 11,13 Programming Carol Kabakjian Becky Kaplowitz Wayne Zimmerman: Main Program 12 Barbara Higgins Information Sara Paul Crystal Hagel “About Tim Michael Cohen Logistics Hildebrandt” copyright Hank Smith Michele Weinstein © 1987 by Thranx Inc. Artist’s Workshop Morale Officer Copyright © 1987 by Michele Lundgren Margaret Phillips The Philadelphia Filking Personnel Science Fiction Society. Crystal Hagel Ozzie Fontecchio Rights returned to contributors after Films Publicity publication. Stasy Tecker Tony Finan Gaming Transportation Diane Fryberger Mark Levin

2 Philcon '87 A Message From Our Chairman On behalf of the Society, welcome appear on the covers of works by SF's to the 1987 Philcon, the 51st annual con­ most notable authors. ference of the Philadelphia Science Fic­ While Philcon is the major event tion Society. Those of you who are at­ of the Society, it is by no means our only tending your first convention should activity. Meetings are held on the sec­ find plenty of things to enjoy, including ond Friday of each month at 8:00pm at our programming, dealer's/exhibition the YWCA at 2027 Chestnut St., in Cen­ room, and art show. Even those who ter City Philadelphia. Following the are veterans of Philcons past will find business meeting, our program high­ some new and different things this year lights some facet of the science fiction which should be extremely enjoyable. held, including lectures by well-known Philcon has had the tradi­ authors and artists, panel discussions, tion of being a “serious” convention, and audio-visual presentations. In ad­ with a strong emphasis on science fic­ dition our Book Discussion Group tion in the printed form. In that vein, meets monthly to review a topic of inter­ we are extremely proud to have as our est or a popular work, and the Special Principal Speaker, Robert Silverberg, Events Group attends movies, exhibi­ whose career in SF has spanned over tions, and other events throughout the thirty years and whose novella, Gilga­ year. If you would like more informa­ mesh in the Outback, was voted Best No­ tion about the Society, please write to us vella of 1987 by the members of the providing your name and address. World Science Fiction Convention held Send the request to: in Brighton, England this past August. Our Special Guest is Timothy Philadelphia Science Fiction Society Zahn, one of the most popular new writ­ P.O. Box 8303 ers and himself a past Hugo winner. Philadelphia, PA 19101 Those of you who are more orient­ ed toward science fiction in the visual In the meantime, enjoy the con (and the mode should be sure to catch our Guest pros). Artist, Tim Hildebrandt. Tim's art is extremely well regarded by his peers, Sincerely, and he was the subject of a recent show­ Todd Dashoff ing at the Widener Museum of Art. Chairman, Philcon '87 Among his works on display in the art show will be several new pieces soon to

Philcon '87 3 Philcon Highlights

Most of us grew up reading some Philcon presents "Pulps: the roots of form of fiction which our parents and Science Fiction." This past year, many of teachers regarded as “trash.” This "trash" our older pros have left it to us to carry on developed into the form of literature known the legacy that they began so long ago. In as science fiction and . their memories, we will try to keep the fun Pulp fiction, seen as worthless, filled in SF. a need in the minds of the youth of the early Quite a few young turks with a sense 20th century, who had only been exposed to of fun have been invited. One of the innova­ Horatio Alger and the Puritan Ethic. tive presentations of Philcon '87 is Har­ To live in another time, in another lan's Opera, based on the musical 1776 place, or to be another person, was a new with SF writers playing all the parts. Two creative escape from the harsh realities of of the parts, as written, are the time. as James Madison and as Among the famous people who wrote George Washington. These gentlemen are in the pulps were, Hugo Gernsback, H.P. not planning to attend; their parts will be Lovecraft, Edgar Allen Poe, Jack William­ played by other actors. Wouldn't the Conti­ son, , Manly Wade Well­ nental Congress have been different if fans man, E.E. “Doc” Smith, Sir Arthur Conan had been in charge? Doyle, and Edgar Rice Burroughs. Our invited guests include authors, From the Depression into World War editors, illustrators, cartoonists, comedi­ II, the pulps, and their new form, comic ans, pulp writers, comic book enthusiasts, books, became the forerunner of the mod­ and historians. ern short story. Stories like these allowed Robert Silverberg, our Principal grownups to be kids again, and they loved Speaker, began his career in the pulps, it! writing for Amazing, Fantastic, Science Young writers such as Eric Frank Fiction Adventures, Super-Science Fiction, Russell, Isaac Asimov, L. Sprague de and dozens of other magazines, under Camp, , , and many different names. The Magazine of Arthur C. Clarke, were able to bridge the Fantasy and Science Fiction published a gap between the work ethic and the new special Robert Silverberg issue in April heights of creativity. This movement be­ 1974. Says the SF Encyclopedia, “...his met­ came what we now know as science fiction. amorphosis from a writer of standardized Since last year's Philcon celebrated pulp fiction into a prose artist is an accom­ "50 Years of Science Fiction," we chose to plishment unparalleled within the field.” build on our historical theme; this year {SFEncyclopedia, 1979 p. 546) In pulp fiction, individuals not only influenced events, they regularly saved the world. Pulp lives on, packed with adven­ ture, stereotyping, and recycled ideas. In­ diana Jones is a classic example of a pulp character. We hope you enjoy our selection of new, and not so new, enthusiasts of this genre. Perhaps, as Simone Welch will tell you in The Writers of the Future Contest, a new pulp writer is waiting in the wings, ready- to save the world and get the ghoul! S-H-A-Z-Z-A-M!!! —Sara Paul

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DAW FANTASY Principal Speaker Robert Silverberg

Robert Silverberg was born in Brook­ end of the 50s and the early 60s he pub­ lyn, , in January, 1935. He dis­ lished almost no science fiction. He was covered his calling very early in life, and by still, however, doing very well commer­ the age of thirteen he was submitting SF cially; so well, in fact that he was able to stories (unsuccessfully) to the magazines. buy a New York mansion that once be­ Between 1949 and 1955 he published a fan­ longed to Mayor La Guardia. He returned zine, Spaceship. In 1954, while still study­ to SF in a major way in the 60s with stories ing English at Co­ that manifested lumbia Universi­ the "new" Silver­ ty, he sold his first berg; interested short story, Gor­ more in themes gon Planet. I n and ideas than 1955 he sold his technique. first novel, Revolt In the late on Alpha C 70s, Silverberg, (which features a disillusioned with short, bad- publishers, read­ tempered Mar­ ers and the whole tian-born cadet field of SF, an­ named “Hari Elli­ nounced that he son”). In the last was retiring from five months of his writing. This sophomore year "retirement" last­ Silverberg sold ed for four years, twenty six stories. ending with the Silverberg publication of the became a full time hugely successful writer immediate­ Lord Valentine's ly after gradua­ Castle . tion and has Robert Sil­ made his living verberg was the entirely by writing Guest of Honor at ever since. He is the first Worldcon one of the most hosted by an non­ prolific writers in English speaking modern history; country, the 1970 it has been esti­ Worldcon in Hei­ mated that in his delberg, West first ten years of Germany. He writing he pub­ has won four Ne­ lished 450 books. bulas and three No comprehen­ Hugos, and is a sive bibliography listing all the books pub­ past president of the Science Fiction Writ­ lished under all his pseudonyms has ever ers of America. In addition to the countless been attempted. works he has written himself, he has edit­ Although his first love has always ed over fifty anthologies, including Volume been science fiction, the collapse of the SF I of the Science Fiction Hall of Fame. He magazines in the late 50s, led him to look currently lives in Oakland, California with for work outside the field, and during the his wife, .

6 Philcon '87 About Robert Silverberg

Robert Silverberg's career in science magazine science fiction dried up, so Sil­ fiction has been , or at verberg turned most of his energies else­ least of stages. Although now universally where, pounding out more than a million recognized as a master of the form, with a words a year (“I Was a Tangier Smuggler,” reputation for innovative, daring work, he “Buried Billions Lie in Wait”) for “twenty started out rather otherwise. With almost different subliterate markets.” no apprenticeship, he burst into the 1950's Then, what started out as a chil­ science fiction scene as the ultimate versa­ dren's book about Pompeii turned into Lost tile hack, able to grind out stories to order, Cities and Vanished Civilizations, the first practically at the speed of typing. The sto­ of dozens of carefully written science popu­ ries were forgettable, interchangeable— larizations. Silverberg enjoyed the work and profitable. In a very short time he was and, for the first time in his professional more prosperous than any of his contempo­ life, had a high regard for what he was do­ raries, and he was doing it the hard way: ing. During this period he wrote two or millions of words for the two- and three- three science fiction books per year, and an cent-per-word science fiction pulp maga­ occasional short piece for Fred Pohl's mag­ zines. azine Galaxy. By his standards it was just In an autobiographical essay, he a token output; Silverberg felt he had all says, “I developed a deadly facility; if an ed­ but retired from the field. itor needed a 7500-word story of alien con­ (It was about this time that I first quest in three days...I would produce it. met Silverberg and became aware of his Occasionally I took my time and tried to tireless prolificity. Just before a science write the sort of science fiction I respected fiction convention in Washington, in the as a reader, but usually I had trouble sell­ mid-sixties, my brother and I were given ing such stories to the better markets, the task of convincing the hotel's night which reinforced my growing cynicism.” shift desk clerk to look the other way dur­ In the summer of 1956, he sold 49 stories in ing some marginally illegal goings-on—a three months. “What I dared not say was relatively mild dislegality for those free­ that I had opted to write mechanical junk wheeling days; we only wanted to coedu­ because I had no faith, any longer, in my cate the sauna. The desk clerk laughed off ability to write anything better.” our concern, though, and brought out a In the late fifties and early sixties, yard-high stack of books—“Just ask Mr.

Philcon '87 7 Silverberg whether he would come by and first wife, from whom he was amicably sign some of my books.” I was in the want­ separated, wanted to buy the house she had ing-to-be-a-writer stage at that time, and been renting. Silverberg decided to see had found out that Silverberg was only whether he could raise the money with one eight years older than me. I was in awe, huge advance. “One book, one house, and not even knowing that the stack was proba­ then back to my gardening,” he said He bly less than a fourth of his actual output to tailored the book, Lord Valentine's Castle, that time.) to what he perceived to be the best selling Science fiction changed swiftly and sfifantasy pattern, and sold it for the high­ radically in the mid-sixties. The “New est sum ever paid for a science fiction nov­ Wave” rejected pulp-magazine story con­ el. ventions and restrictions, and valued liter­ Silverberg wrote the book in six ary experimentation. It seemed to be an months and did return to retirement, but it amenable environment for the kind of didn't last. He found he could now get as science fiction Silverberg had always want­ much for short stories as he used to get for ed to write, so he came back into the field novels, so he wrote a few. Some of them with , an elliptical, dense novel were set on the same planet as Lord Valen­ about the redemptive value of pain. Reac­ tine's Castle', they wound up assembled tion was mixed, some reactionaries para­ into the book Majipoor Chronicles. Then, doxically muttering “sell-out,” but by and to “experiment with escaping sf,” Silver­ large the new Silverberg was welcomed; berg wrote two large historical novels, Lord the novel was nominated for both the Hugo of Darkness and . and the Nebula awards. Both were well received by critics— Thorns was followed by a slow (for Gilgamesh being granted especially ad­ Silverberg) succession of ambitious, ma­ miring notice from the New York Times ture novels like Masks of Time, Downward Book Review—but both wound up smack in to the Earth, , , A the middle of the science fiction section in Time of Changes, , Up the book stores. It seemed there was no es­ Line, and the remarkable . cape. He won critical approval and awards (the Silverberg wrote a final Majipoor Nebula for A Time of Changes'), but sales novel, Valentine Pontifex, and the trilogy figures told .the real story: science fiction has been so successful that at this writing, fans didn't want the new Silverberg. By all of those ambitious novels that seemed to 1974, all of the ambitious books were out of have disappeared in the post-New Wave print. The readers evidently wanted sim­ era have been reincarnated with bright ple adventure novels and escapist fanta­ new covers identifying them as “by the au­ sies. thor of the Majipoor trilogy.” An earlier Silverberg might have The Majipoor books are carefully cynically switched to tales of galactic em­ crafted, honorable works, but they don't pires and space pirates, unicorns and have the fire of the earlier novels, the sense maidens, but this Silverberg looked at the of the author taking chances and inviting balance sheet, financial and existential, the reader to take chances alongside him. and decided to quit. His investments would The more recent novels Tom O'Bedlam and support him, and there was no pleasure in Star of Gypsies harken back to the Silver­ writing for a nonexistent audience. He fi­ berg of the sixties and seventies: the chal­ nished a difficult novel-in-progress, Shad­ lenger, the experimenter. rach in the Furnace, and walked away It's reassuring to have him back. from science fiction. He turned his ener­ Not just because he is one of the best writ­ gies to gardening, experimenting with the ers the field has produced. Most writers large variety of trees and shrubs he could can't visualize not writing, having to “be” grow in his new California location. something else—and every year Bob stayed For four years Silverberg did stay re­ retired, we got more nervous. If it could tired (about three and a half years longer happen to Silverberg, it could happen to than his friends had predicted). Then his anybody! 8 Philcon '87 FIRST CAME COBRA THEN COBRA STRIKE AND NOW... TlTllUTHV 7HHN

It is the year 2474. Corwin Moreau, now 55, is governor of Aventine but the fact that the Moreau

Navai family has held power for so long is beginning to generate bad feelings in the Cobra Worlds Qpuncil. The Moreaus’ contributions to the colony’s success are fading in the light of an anti­

Cobra political faction. But the greatest challenge of COBRA BARGAIN faces Corwin’s niece, Jasmine. Her only ambition is to follow in the footsteps of her father and grandfather — but no woman has ever been accepted to the Cobra Academy. Then a mission arises that demands her participation. Jasmine is trained, joins the infiltrating force.. .and disaster strikes almost immediately... “At this present rate, Zahn will be firmly established as one of the best science fiction adventure writers in the field in a few years.” — Science Fiction Chronicle.

FEBRUARY 1988 • 416 pp. • 65383-0 • $3.95

Distributed by Simon & Schuster 1230 Avenue of the Americas • New York, NY 10020 ssooa Bibliography: Robert Silverberg

Novels

Revolt on Alpha C 1955 The Desert of Stolen Dreams 1981 Master of Life and Death 1957 Valentine Pontifex 1983 The Thirteenth Immortal 1957 Lord of Darkness 1983 Stepsons of Terra 1958 Gilgamesh the King 1984 Starhaven 1958 Tom O'Bedlam 1985 Invaders from Earth 1958 Sailing to Byzantium 1985 Lest We Forget Thee, Earth 1958 Star of Gypsies 1986 Invisible Barriers 1958 Project Pendulum 1987 Aliens from Space 1958 At Winter's End (forthcoming) 1988 Starman's Quest 1959 The Plot Against Earth 1959 With The Planet Killers 1959 Lost Race of Mars 1960 The Shrouded Planet 1957 Collision Course 1961 1959 Recalled to Life 1962 The Seed of Earth 1962 Short Story Collections 1963 Time of the Great Freeze 1964 Next Stop the Stars 1962 One of Our Asteroids is Missing 1964 Godling, Go Home! 1964 Regan's Planet 1964 To Worlds Beyond 1965 Conquerors from the Darkness 1965 Needle in a Timestack 1966 Thorns 1967 Dimension Thirteen 1969 The Gate of Worlds 1967 The Callibrated Alligator 1969 1967 Parsecs and Parables 1970 The Time Hoppers 1967 The Cube Root of Uncertainty 1970 To Open the Sky 1967 Moonferns and Starsongs 1971 Planet of Death 1967 The Reality Trip and Other Whom the Gods Would Slay 1968 Implausibilities 1972 The Man in the Maze 1968 Earth's Other Shadow 1973 1968 Valley Beyond Time 1973 The Masks of Time 1968 Unfamiliar Territory 1974 Three Survived 1969 Born with the Dead 1974 1969 Sundance and Other Science Fiction Nightwings 1969 Stories 1974 1969 The Feast of St. Dionysus 1975 1969 Sunrise on Mercury and Other Science Tower of Glass 1970 Fiction Stories 1975 1970 Capricorn Games 1976 World's Fair 1992 1970 The Shores of Tomorrow 1976 The Deadly Sky 1971 The Best of Robert Silverberg 1976 1971 The Best of Robert Silverberg, Vol. 2 1979 A Time of Changes 1971 The Songs of Summer 1979 Son of Man 1971 A Robert Silverberg Omnibus 1981 1972 World of a Thousand Colors 1982 Dying Inside 1972 Majipoor Chronicles 1982 The Book of Skulls 1972 The Conglomeroid Cocktail Party 1984 The Stochastic Man 1975 Beyond the Safe Zone 1986 1976 Lord Valentine's Castle 1980

10 Philcon '87 Alpha Three 1972 Chains of the Sea 1973 Other Dimensions 1973 Alpha Four 1973 1973 Deep Space 1973 No Mind of Man 1973 Three Trips in Time and Space 1973 New Dimensions 4 1974 Alpha Five 1974 Windows into Tomorrow 1974 Infinite Jest 1974 Threads of Time 1974 Mutants 1974 Epoch 1975 Alpha Six 1975 New Dimensions 5 1975 Explorers of Space 1975 The New Atlantis 1975 Strange Gifts 1975 New Dimensions Six 1976 The Crystal Ship 1976 The Aliens 1976 Triax 1977 Earth is the Strangest Place 1977 The Infinite Web 1977 Edited by Robert Silverberg Alpha 7 1977 Alpha 8 1977 Earthmen and Stranger 1966 Galactic Dreamers 1977 Voyagers in Time 1967 Trips in Time 1977 Mind to Mind 1968 New Dimensions 7 1977 Men and Machines 1968 Lost Worlds, Unknown Horizons 1978 Dark Stars 1969 New Dimensions 8 1978 Alpha One 1969 Alpha 9 1978 Tomorrow's Worlds 1969 Car Sinister 1979 Three for Tomorrow 1969 Edge of Space 1979 The Science Fiction Hall of Fame, The Best of New Dimensions 1979 Volume 1 1970 The Androids are Coming 1979 The Ends of Time 1970 New Dimensions 9 1979 The Mirror of Infinity 1970 Dawn of Time 1979 Worlds of Maybe 1970 The Arbor House Treasury of Modern Great Short Novels of Science Fiction 1970 Science Fiction 1980 Alpha Two 1971 New Dimensions 10 1980 The Science Fiction Beastiary 1971 New Dimensions 11 1980 1971 The Arbor House Treasury of Great To the Stars 1971 Science Fiction Short Novels 1980 Four Futures 1971 The Arbor House Treasury of Science The Day the Sun Stood Still 1972 Fiction Masterpieces 1983 New Dimensions 2 1972 Nebula Awards 18 1983 Invaders from Space 1972 The Fantasy Hall of Fame 1983 Beyond Control 1972 Robert Silverberg's Worlds of Wonder 1987

Philcon '87 11 Pulp Magazines and Science Fiction What is a pulp? Strictly speaking a Sleep, the Foundation Trilogy, and numer­ is (or was) a fiction maga­ ous other classics first appeared in the zine printed on cheap paper in a 6 1/2 x 9 1/ pulps. 2-inch format. That is, about the size of a Science Fiction, as a distinct catego­ National Geographic, on the kind of paper ry of publishing, was a pulp-magazine in­ used for modern paperbacks. Pulp a tech­ vention. , the first science nical term referring to the wood-pulp pa­ fiction magazine, had its first issue in per, which is highly acid, browns quickly, April 1926. Numerous spinoffs and imita­ gives off musty odors, and decays in pictu­ tions followed, the most significant of resque ways dreaded by collectors. which was Astounding (originally As­ But pulp magazines were more than tounding Stories of Super Science, then As­ that. For half a century they were Ameri­ tounding Science Fiction, and now Analog} ca's favorite form of entertainment. They particularly in the first decade or so of proliferated by the hundreds, even the John W. Campbell’s editorship, roughly thousands, and ranged from such general 1938-1948, in which Campbell single­ fiction titles as Argosy and Bluebook to in­ handedly raised the field above the more typical pulp level of formula action mixed with pedantic science lectures. (You know, “Tell me professor, how does the in- tercosmical watchamawhozzis work?” “Well, my boy, my theory is...” and so on for several pages.) In the space of just a few years, Campbell discovered and developed such lasting favorites as Robert Heinlein, Isaac Asimov, L. Ron Hubbard, , and L. Sprague de Camp. He was the Maxwell Perkins of science fiction and the whole field is forever in his debt. Science fiction was always one of the most popular pulp categories, particularly prior to the great paperback boom. If you credibly specialized publications: Planet wanted SF, you read pulps. It was all Stories (which only published stories set on there, the good, the bad, and the indifferent other planets), Submarine Stories, and pos­ mixed together. There were Thrilling sibly apocryphal Spicy Zeppelin Stories. Wonder Stories, Startling Stories, Cosmic, Pulp magazines were, by and large, Super Science, Marvel, Space, Miracle lurid (and luridly illustrated), hastily writ­ Science, Famous Fantastic Mysteries, and ten, and Not Good Literature. Before there even Two Complete Science Adventure was a Doctor Wertham to harass the com­ Books. ic-book industry, there were concerned par­ And one can’t overlook , afraid that reading pulp magazines the greatest of the fantasy/horror pulps, would turn their kids minds into fetid jello. which gave the world H.P. Lovecraft, Clark But the readers knew, both kids and Ashton Smith, Ray Bradbury, Robert E. adults, that the pulps were great stuff. Howard, and so many more. They offered bright dreams, thrilling ad­ Most of the pulps folded in the early venture, and all too needed escapism dur­ ’50s, replaced by the sleeker paperbacks, ing the frequently scary times of the Great and by television, but the science fiction Depression and World War II. category lived on. Today, the core of the And some of the stories turned out to field is still the magazines. In the maga­ be Good Literature after all: The Maltese zines, the new writers get started, and the Falcon, The Martian Chronicles, The Big best short fiction still appears. Two of the

12 Philcon '87 grandest pulp titles have always been with You can still find much of the fiction us—Amazing and Astounding I Analog— from the non-SF pulps around today also: and Weird Tales has been revived again (in the Tarzan novels of Edgar Rice Bur­ Philadelphia too!). roughs, Doc Savage, the Shadow, the Aven­ The immediate successors of the ger, not to mention much classic mystery oulps were the digest magazines: Galaxy, fiction. If, The Magazine of Fantasy and Science So in a sense, the pulps have never Fiction, and many more. Most of the sur­ died, or if they have they've gone to Heaven. viving pulps (except Weird Tales') are now —Darrell Schweitzer in the digest format, but they are still their old selves.

PhilcorT87 13 Welcome There’s a lot to get excited about this to our season, with some major novels by long-time masters, big books by young writers deserving of notice, fall list and plenty of great entertainment.

SEPTEMBER: If you’ve read ’s breathtaking alternate prehistory West of Eden, Winter in Eden needs no introduction. This highly-acclaimed sequel is now available in paperback. Chernobyl by is one of the most important novels of the year, a stunning speculation on what it must have been like to be present during the most dangerous nuclear accident in our history. Undersea by Paul Hazel is the second novel in the brilliant saga, the Finnbranch Trilogy (which began with Yearwood and concludes in December with Winterking). And Sheila Finch, who has received raves for her first two novels, Infinity’s Web and Triad, presents her third, a tale of struggle between races of gene-manipulated humans entitled The Garden of the Shaped.

OCTOBER: The Rat is back. The Stainless Steel Rat Gets Drafted by Harry Harrison chronicles the further adventures of the infamous “Slippery Jim” diGriz. It’s wonderful, non-stop fun. Dover Beach by Richard Bowker is a moving novel about America after a “limited” nuclear war and the search for a missing scientist. Bowker is a very gifted writer who has won praise for his recent novels, Replica and Marlborough Street. Speaking of gifted writers, Pamela Sargent’s far-future novel The Shore of Women is quite an accomplishment. It was called “one of the great novels of science fiction” by The Magazine of Fantasy and Science Fiction. And Clypsis by Jeffrey A. Carver is the first novel in Roger Zelaznys’ Alien Speedway, a hot new space opera series designed by one of the most imaginative minds in the business. NOVEMBER: The Universe edited by Byron Preiss is simply incredible. This tour of the galaxy and beyond includes award-caliber short fiction by the likes of , Gregory Benford, , Robert Silverberg, and others, mind­ stretching essays by some of the leading astronomers in the world, and over 40 gorgeous full-color illustrations and photographs. American Book Award winner Lisa Goldstein, who writes like a dream, will publish A Mask for the General, a near-future novel about power and responsibility. The Goldcamp Vampire is Elizabeth Scarborough’s latest, a high- spirited fantasy with Alaskan , vampires, were-mooses and a young'journalist up to her neck (you’ll pardon the expression) in trouble. (We’ll be reissuing Scarborough’s The Harem of Aman Akbar in September and the omnibus Songs from the Seashell Archives, Volume One [which contains Song of Sorcery and The Unicorn Creed] in October.) The totally outrageous Wild Cards series edited by George R.R. Martin is back with Jokers Wild—the latest chapter in the secret history of our times. Jonathan Wylie begins a bold new fantasy trilogy, Servants of Ark, with The First Named. And we’ll be reissuing Ursula K. Le Guin’s unforgettable short story collection, The Compass Rose.

DECEMBER: As good as the fall list is, the absolute highlight is Gregory Benford’s new novel, Great Sky River. Suffice it to say that it’s the best novel he’s written yet—which is another way of saying it’s one of the best hard sf novels ever. There’s another terrific sf novel in December, After Long Silence by Sheri Tepper. It’s a big, absorbing tale of alien contact that Anne McCaffrey called “magnificent.” Rose Estes launches a powerful prehistoric fantasy trilogy this month, Saga of the Lost Lands, with Blood of the Tiger. And we’ll reissue Star Rebel and Rebel’s Quest, two novels in EM. Busby’s Hulzein Dynasty saga, in one big volume entitled The Rebel Dynasty, Volume One. We’re quite proud of this list. And wait until you hear about what we have coming this winter. We think you’ll be very pleased. With warmest regards for the future, BANTAM® Publisher, Bantam Spectra Guest Artist Tim Hildebrandt

Tim Hildebrandt was born on Janu­ New York. They needed a poster for the ary 23,1939 in Detroit, Michigan. film in 36 hours. The company had only a He first showed an interest in art at few black and white photos from the film about the age of four. Early inspirations in­ and no pictures of the stars. But, they ex­ clude Walt Disney's Snow White, Pinno- plained, it didn't matter what the picture chio and Fantasia, and the illustrations of looked like, since the movie would be a flop N. C. Wyeth and Howard Pyle. In his teens anyway. Tim completed the assignment, he became interested in science fiction and the rest is history. films, and while in high school built and In 1979 Tim wrote and illustrated filmed many miniature sets of distant his own fantasy story, Urshurak, which worlds. made it to the best seller list. After attending Meinzinger's Art From the time he worked with Ful­ School in Detroit, Tim went to work for ton Sheen to the writing of Urshurak, Tim “The Jam Handy Organization”, an indus­ worked with his twin brother, Greg. To­ trial film company, gether they successfully where he worked in the created a team which animation department. gained world recognition During the four years he in the realm of fantasy il­ worked there, Tim de­ lustration. Some time af­ signed several films ter Urshurak was re­ which won the Golden leased, the team broke Eagle award. up. Since 1981 Tim has His next stop was been enthusiastically New York, where he working on his own. worked for six years pro­ When the 3M Com­ ducing documentary pany decided to change films for Bishop Fulton J. their logo they came to Sheen, a leading religious Tim to design a fantasy TV personality of the setting for a TV commer­ times. While working for cial. Tim not only de­ Fulton Sheen, Tim con­ signed it but painted the tacted several children's backdrop and built the book publishers in New miniature landscape. York and began doing il­ The challenge in this par­ lustration work for them. ticular assignment was He soon became so busy to, as the 3M people put it, with assignments that he left filmmaking “make a Hildebrandt painting come to and began a full-time career in illustra­ life.” tion. In the last three years Tim has done In 1976 Tim illustratedTAe Lord of three more calendars; two of them for the the Rings. He also illustrated three Tolke- Dungeons and game and one in calendars, of which the 1978 version sold based on Anne McCaffery's famous fanta­ one million copies. Tim's work was chosen sy series, The Dragonriders of Pern. Re­ to hang in the Bicentenial Show, “Two cently, Tim has collaborated with his wife Hundred Years of American Illustration.” Rita on two book projects, The Fantasy He has also won the Gold Medal from the Cookbook, and a novel, Merlin and the Society of Illustrators. Dragons of Atlantis. Rita has done the When Star Wars was released Tim writing and Tim the illustrating. recieved a call from a poster company in

16 Philcon '87 ZL Z9. UOOljlld Individual Exhibitions 1985 & 1986 The Gallery of Fine Illustration, Phila., PA 1986 The Community Gallery, Lancaster, PA 1985 Beneficial World Corporate Headquarters, NJ 1977 Benton & Bowles, NY 1976 Society of Illustrators Awards 1985 & 1986 Texas Trails Gallery, San Antonio, TX, Award of Merit 1985 New Jersey Art Directors Club, Award of Merit 1984 International Graphics Award 1982 Balrog Award 1978 Gold Medal, Society of Illustrators

18 Philcon '87 About Tim Hildebrandt

Everyone has something that speaks and cereal boxes. Part of it stems from the to them from deep inside a painting. For love which is so apparent in the majority of some people it's color. To others it may be his compositions, part from the careful at­ the artist's mastery of the human form, or tention to background as well as fore­ mountains, or the painter's ability to con­ ground, and part from the way every ele­ vey a sense of actions and drama. You ment works together to from a cohesive might then prefer Monet, Titian, Bierstadt, whole. Hildebrandt's people are part of the Frazetta or Rembrandt in turn. scenery into which they are thrust and not With me it's always the light. simply actors on a stage. They belong to I'm always fascinated by the way in the trees and mountains and fantastic city­ which painters deal with the integral part scapes instead of being superimposed upon of a scene that isn't there. Mountains, peo­ them. ple, flowers, horses, they're all solid and And then there's the light. easily defined. You can study anatomy in It suffuses every inch of Tim's can­ life classes, landscape on field trips. But vases with a powerful, lambent glow. It how do you get a photon to sit for a still-life? doesn't merely illuminate, it invigorates How do you employ sable brush and air­ everything it touches, like Tinkerbell's pix­ brush and oil and acrylics to make real ie dust. Gold pans explode on the viewer's nebulosity? Because the light affects every­ retinas. Blue sky acquires depth and ma­ thing else in the painting, the way an au­ jesty. People come alive, lit from without thor's style affects everything that's com­ as readily as from within. Trolls and mitted to paper. Both are intangibles, both , demons and dragons, volcanoes rich and vital, both the hallmark of the art­ and fireplaces and streams in the forest ist. One artist, J.W. Turner, became so seem to become three dimensional when fascinated with light he made a career of struck by Tim's light. It causes ripples painting it, until the “real” objects in his throughout each composition, ripples paintings, be they ships or trains or Italian which are transformed by our bemused landscapes, were reduced to little more eyes into motion, so that there appears in than adjuncts to his depictions of light. the most static scene to be action and move­ Turner was the Frazetta of light, his works ment. It's all in the light. ablaze with muscular sunbeams and tor­ There's light in Tim too. I don't mented sunsets. His was one extreme in think he'll be offended if I say that he looks the painterly treatment of light, Jackson like he stepped out of one of his own compo­ Pollock the other. sitions. What better compliment to a Somewhere in between we have Tim man's art than to say that he is a reflection Hildebrandt. of it as well as it being a reflection of him? At a time when the majority of SF Tall and slim, elfin of expression, he al­ and fantasy illustrations look as if they've ways seems to be smiling. been fashioned by the collage method (ray I particularly remember visiting gun here, cape there, airbrushed space­ Tim at his home in New Jersey, a charm­ ship and prancing unicorn in the back­ ing Victorian maze of rooms and stair­ ground, plumes and dresses borrowed wells snuggled in amongst others of its whole-cloth from Vogue), Hildebrandt kind, nineteenth-century refugees hud­ harkens back to the classic fantasy illustra­ dling together for warmth against the tors of yesteryear (and yes, those were marching condos abuilding just over in the thrilling days, illustratively speaking). His next county, confident in their own individ­ work has more in common with Howard uality and aesthetic superiority. Just like Pyle and Edmund Dulac and Arthur Rack­ Tim. ham than with the slick commercial sty­ We went upstairs, which meant lists whose work is interchangeable with backways and byways of the sort Tim the art that appears on candy wrappers might paint, to pause outside a closet

Philcon '87 19 which Tim opened. The closet disgorged figures and faces had been forgotten. painting after painting, an astonishing Yet for me the most memorable record of prolificacy herded together with room in that charming, half fairy-tale an almost casual disregard for surface and house was not the closet of wonders, or the permanence. None framed or matted, they den in which we all sat watching and dis­ came tumbling out with the light glinting cussing animation, but the kitchen, where off each distinctive and different scene, like Rita Hildebrandt presides and composes as a gigantic trunk of square gold coins liber­ effectively as Tim does at his easel. All ated from the cave of Ali Baba. those pots and pans and dangling roots Tim took the time to proudly display and herbs you've seen in the backgrounds each one. What a wealth of invention com­ of some of Tim's paintings have their re­ mitted to canvas and art board: dragons, flection in real life. To me the real wonder trolls, mermaids and spaceships. Hobbits is not how Tim turns out so many paint­ and heroes, ethereal princesses and scanti­ ings of such high quality, but how he man­ ly-clad amazons, instruments of death and ages to stay so slim on Rita's cooking. sparkles of creation. It was like viewing If you want to see more of the Hilde­ the key scenes of a full-length animated brandt house, check out a little flick called film with the continuity removed, a career The Deadly Spawn. Tim's house was the compressed into a life-sized cartoon flip main set, and the film stars the Hilde­ book. You barely had time to admire one brandt progeny, Charles. Not bad. H.P. composition before another took its place. Lovecraft would've approved, I think. Any­ After awhile they all seemed to blend to­ one who's ever sat through a con banquet gether, whether fantasy or science-fiction. will appreciate it. They bemused and amused. They dazzled. Talk to Tim if you get the chance. And when the last piece had been Let a little light in. viewed and the gold was returned to the —Alan Dean Foster cave, images of light remained long after

The Science Fiction Club of the University of Pennsylvania presents w HORIZON EVENT a thoroughly inexplicable one-day science fiction conference Saturday, March 5, 1988 with guests from the Philadelphia Science Fiction Community For further information write to: Dan Blum 126 South 39th Street, # 2F Philadelphia, Pa. 19104

20 Philcon '87 TOR BOOKS

CONGRATULATES ROBERT SILVERBERG

GUEST OF HONOR PHILCON

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------' " TDR Special Guest Timothy Zahn Timothy Zahn has quickly become one of the most popular SF authors since his debut in Analog in 1979. Since that time he has produced over half-a-dozen novels and large number of shorter works, all of which have received acclaim from the readers. His novella Cascade Point won the Hugo in 1984, an astounding feat for such a new writer. Tim was born and raised in Chicago. Like many fans, he began reading science fiction at an early age. He became a full time writer after receiving his Masters de­ gree in 1975. His strong background in physics and the other hard sciences shows throughout his work, including his novels Spinneret, Cobra, and Triplet. He still finds time, however, to pursue his other in­ terests such as classical music. Tim lives in Champaign, Illinois with his wife Anna, and their son Corwin. We welcome him to Philcon as our Special Guest.

Bibliography Blackcollar 1983 A Coming of Age 1984 Cobra 1985 Spinneret 1985 Cobra Strike 1986 Blackcollar—The Backlash Mission 1986 Cascade Point and Other Stories 1986 Triplet 1987

22 Philcon '87 Philcon '87 23 About Timothy Zahn When an editor is foolish enough to the old superpower theme: what can you do read all submissions himself, things can with a very small paranormal ability, like get pretty dreary at times—but there are teleporting an inch at a time? For a while moments that make it all 'worthwhile. Tim seemed to be specializing in such They can get especially dreary for a new ed­ sharply limited talents, but it didn't take itor who has inherited a backlog of unread him long to branch out—a lot. slush and hasn't yet learned the special When I find a new writer who has skills he need to keep up with it. come up with a good story, the next ques­ That's where I was in December of tion on my mind is: can he do it again? 1978. I'd been editing Analog for more Not all can, but Tim could—again and than three months and was only now be­ again and again. He very quickly became ginning to get out from under a pile that at my most prolific and dependable source of one point had managed to expand to five very good stories based on a wide range of piles. But I was determined to get dug out imaginative ideas. In fact, he was turning before Christmas, and so for the last couple them out so fast that I had to send some of of weeks I'd been slogging through the them back simply because I didn't have stuff with fierce determination, marveling room for them. But I always enjoyed read­ all the while at how remarkably little I was ing them, and the ones I couldn't use had finding with fierce determination, marvel­ little trouble finding homes elsewhere. ing all the while at how remarkably little I All that exposure meant that lots of was finding of interest. Some months are people now knew who Tim was. I think like that, and I'd already made the shock­ the main reason he hasn't won more ing discovery that not even the old pros are awards than he has is that he too often had always in top form. too many popular stories competing And so it came to pass that, one par­ against each other in the same year—what ticularly dismal Tuesday afternoon, I was we in the office came to refer as “the Zahn picking up manuscript after manuscript, effect.” But even the “the Zahn effect” no longer even daring to hope that any par­ couldn't keep him from winning a Hugo ticular one would have much merit. I just for “Cascade Point,” which, typically, fea­ hoped to recognize the bad news about each tured one of the most original space drives one as quickly as possible, and get as many ever invented, inextricably entwined with out of the way as possible before it was time an intriguing problem in human psycholo­ to go home. gy- And suddenly I glanced at my watch With Tim contributing regularly to and realized that I was about to miss my Analog, and Analog, having a “Biolog” col­ train—because my attention was so thor­ umn, I had a good excuse to satisfy my cu­ oughly absorbed in a story by a writer no riosity about who was writing all these sto­ one had ever heard of that I'd lost track of ries. So I sent forth my spy, Jay Kay Klein, the time. and he returned in good time with enough That's what makes reading the information to convert Timothy Zahn from slush worthwhile. It doesn't happen often, a name to a person. His background but it's such a kick when it does that it turned out to have a lot of familiar echoes more than makes up for all the times when in it—such as two degrees in physics and a it doesn't. sideline of classical music—and some un­ The unknown writer in this case, expected twists worthy of one of his own which was the first such I remember, was stories. He was working on a doctorate in a fellow named Timothy Zahn. And it is no physics when he started selling fiction, but longer true, by any stretch of the imagina­ his thesis advisor died halfway through his tion, that no one has ever heard of him. project. Rather than start over on a new That first story was called “Ernie,” one, Tim decided to try full-time writing— and it rang an interesting new variation on a decision which I suspect neither he nor

24 Philcon '87 the many admirers of his work have had cidentally, probably the youngest real per­ much cause to regret. son ever to appear photographically in the Fortunately (at least for Tim) some of pages of Analog, where we showed him lit­ those admirers were book editors. So in re­ erally devouring his father's literary ef­ cent years you've seen such novels from forts at the age of months.) him as The Blackcollar, A Coming of Age, Some writers, in person, are very Cobra, and now, Triplet. Of course, this is much as you would expect from their not quite so good for me, since all those works; others are utterly different. I would book contracts keep him too busy to write as place Tim Zahn in the former category— many magazine stories as he used to. But and that is entirely to his credit. He has I'm not above serializing an occasional said that his first goal in all his writing is novel (like Spineret}, and Tim does still find to entertain his audience—a refreshing time for some short stories. When he does, aim, to those of us who have read too many they tend to be worth waiting for. Who else writers who seem to consider entertain­ would come up with the idea of combining ment somehow beneath them. Some of us acupuncture and voodoo—and develop it also find it refreshing that the many ways with enough rigor to publish in a “hard he finds to entertain almost always include science fiction” magazine? lively, thought-provoking speculation— I first met Tim personally at the with careful attention to making the scien­ Worldcon in Denver in 1981, and found him tific foundation solid enough to support the quite as interesting personally as profes­ story. As if all that weren't enough, there sionally—and a very amiable fellow, to also runs through Tim's stories an under­ boot. I have since taken every opportunity current of decent respect and compassion to spend some time with him and his for humanity—and that, too, is a commodi­ equally delightful family. (Yes, I would be ty in regrettably short supply. at Philcon this year, if I could.) At that But you will find all of these qualities first meeting, said family included only in good measure in Timothy Zahn's sto­ Tim and Anna, but they have since collabo­ ries. And if you get to know the man who rated on creating an original and quite rea­ wrote them, you'll understand why. listic new character, Corwin. (Who is, in­ —Stanley Schmidt

Philcon ‘87 25 2 I 5 -884-7555 PAPERBACKS All Subjects and Categories SEND US YOUR WANT LIST And Self-Addressed, Stamped Envelope MAGAZINES PAPERBACKS BOOK SWAP ACCESSORIES

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26 Philcon '87 Guests of Philcon 1987 T/ie Odanis 9darf^9dotd Mary Elizabeth Allen Tom & Andrea Kidd Roger MacBride Allen Jay K. Klein Ellen Asher Richard Klyon Oddcomes ‘Phitcon '87 Camille Bacon-Smith Karl & Janet Kofoed Bryn Barnard Rich Kolker Informat dining Lisa Barnett Yoji Kondo 6:30am- 11pm Jill Bauman Theodore Krulik daily Greg Barr Ellen Kushner John Betancourt David Kyle (Daily Specialties, Taylor Blanchard Charles Lang wine by the glass, Ginger Buchanan Wendy Snow-Lang fresh pastries Bill Carr Bob Lewis James Lane Casey Shariann Lewitt Sue Casper Carl Lundgren Jack Chalker David Lunde International (Beer Betsy Mitchell selection, wines 6y Brenda Clough Judith Moffet Kathryn Cramer Pat Morrissey the glass. Special Jack Crane James Morrow “Phitcon ” sandwich Ellen Datlow Sam Moskowitz and beer daily. L. Sprague de Camp Steven & Brenda Oliver Catherine C. de Camp Susan Palwick (Enjoy televised John De Chancie Sandy Pomerantz sports. Informal Rae Dethlefsen Andrew Porter atmosphere Charles Dougherty Michael Potter Gardner Dozois Tom Purdom Robert M. Eber Mike Resnick tFine dining nightly, Chris Logan Edwards Ray Ridenour Bob Eggleton Mark Rogers Sunday brunch Lloyd Arthur Eshbach Milt Rothman Semi format dress Guy Frechette Tony Rothman Shelly Frier suggested, for Esther Friesner Darrell Schweitzer reservations Gregory Frost George Scithers ptease catt 3010 p.J. Fuller Charles Sheffield Raymond Gallun Josepha Sherman Alexis & Dolly Susan Shwartz 'Enjoy Slot jazz and Gilliland John Silbersack Charles Grant Robert Silverberg a coot dr inf Rich Green Thomas Small 'Entertainment from Sharon Green Melinda Snodgrass 8pm ^Friday and Kurt & Heather Griffith Joel Spivak The Gunderson Corp. Nancy Springer Saturday Jay Haines Manny Staub Hamster Squad David Hartwell Michael Swanwick (Philadelphia's best Peter Heck Judith Tarr high energy Tim & Rita Charlene Taylor nightspot, featuring Hildebrandt Rich Tomlinson Susan Honeck Bob Versandi tive entertainment Morris Hornik Bob Walters from across the Jael Simone Welch country 6 days a David A. Katz Sheila Williams Marvin Kaye Timothy Zahn weef Pat Kenneally

Philcon ‘87 27 Art Show Rules The art show is an exhibit of original SF, Fantasy and Fannish art in two-dimensional (e.g. sketches and paintings) and three-dimensional (e.g. sculpture) form, executed by both professional and amateur artists. All artwork other than that marked "NFS", for "Not For Sale" is for sale by competitive (written and voice) bidding. There is also a Print Shop for di­ rect sale of photoprints and lithographs, which is located at the back of the Dealer's exhibit area. To bid on artwork you must: 1) Be a registered member of Philcon as evidenced by your Philcon badge. 2) Register at the Art Show Control Desk to receive your bidder number. Each piece of artwork is tagged with an ID/bid sheet which lists the title of the piece, the medium and the name of the artist. The color of the bid sheet indicates the sale status of the artwork: Blue: Artwork for display only, not for sale. Yellow : Limited edition photoprint or lithograph for sale at a preset price only. A print with a yellow bid sheet will have a single line for a written bid. The first written bid, equal to the preset sale price, buys the print. Usually the artist will have submitted addition­ al copies of the print for direct sale in the Philcon Print Shop at the same preset price. White: Original art for sale to highest bidder, beginning at minimum bid price. Origi­ nal art with a white bid sheet will have several lines at the bottom of the sheet where the bid­ der can write down the amount he/she wants to bid for that item. The amount of the bid must be at least as much as the minimum bid specified by the artist and more than any pre­ ceding bid on the sheet. Write your name, bidder number, and amount of bid, legibly, on the bid sheet. Do not cross out any written bids.

Written bidding will close at noon on Sunday. The Art Show will be cleared at that time. Any artwork with less than three written bids will be sold to the highest bidder. Art­ work with three or more written bids will be entered in the voice auction. The voice auction will be Sunday afternoon from 1pm to 3pm in Grand Ballroom E,F. At the auction, the art is open to further bids by other people. Therefore the bidder should at­ tend the voice auction to make further bids on pieces he/she is still interested in buying. The bidder making the highest bid by voice will buy the art at that price. If there are no voice bids, the art will be sold to the person who made the highest written bid. Several words of warning: Keep track of all the bids you make; when placing a written bid on items, assume you will be the winning bidder on ALL of them. This way you can avoid buying more than you can afford. If you have reached your limit for Art Show purchases, wait until you have lost an item to a higher bidder before bidding on another item. Also, re­ turn to the Art Show before its closing (Sunday, noon) to check the bid sheets to see what items, if any, you have won by written bid and which items will be going to the voice auction. Art Show Sales will be Sunday afternoon from 2pm to 4pm in the Delaware Rooms. At this time you must pick up and pay for all items of art you have won by written bid or voice auction. Cash, Visa or Mastercard, traveller's checks, and personal checks with ID will be accepted for payment as per rules set by the Philcon Treasurer. Proof of ID will be required of all buyers at time of payment. You must pick up and pay for your own purchases. We WILL track down anyone who fails to collect and pay for artwork they have bought at Phil­ con.

Remember: you bid, you buy. Be serious. Do not make a bid unless you mean it A bid is a legal obligation to buy the art you bid on at the price you bid.

28 Philcon '87 Amaze a Friend with Data on the Waldenbooks Otherworlds Club!

Reveal these fantastic benefits: ★ All Otherworlds Club members receive the following discount on purchases of any paperback books displayed in our science fiction/ fantasy section: 10% off purchases totaling S5.00-S14.99 15% off purchases totaling $15.00 or more ★ Additional savings on selected hardcovers. ★ Copies of Xignals, the Club’s bi­ monthly newsletter—free at any Waldenbooks store. That’s a formula for astounding savings... So, communicate the secret to a fellow fan!

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