Tales Too Good To Forget #4

Precious story manuscript,
How I wonder who has it.
I sent it out for lasting fame,
But where it went I cannot name.

Printshop

I’m sure that anybody familiar with the history of science fiction publishing knows that in the USA the rise of the paperback steadily occurred during the 40s and 50s. Prior to about 1955 most science fiction was still first appearing in magazines dedicated to the genre but after that the science fiction magazines steadily declined in importance.

However, even if you are aware of all this I wonder if you have ever really considered the implications of this piece of history. Between 1926, when Amazing Stories first appeared, and 1955 there were a lot of magazines published which were wholly or partly devoted to printing science fiction. Secondly, for reasons I won’t go into today the the majority of this fiction was composed of shorter stories rather than novels. There were quite a few novels serialised in the SF magazines over the years but that total is still dwarfed by the number of shorter pieces published (it should also be noted that a good many stories that were described on magazine covers and title pages as novels were really too short of deserve the description). Last, but certainly not least, all these published stories began their lives as manuscripts which had to be physically delivered to an editor for consideration, either by the post or by hand. So what this implies is that at any given time there were thousands of manuscripts in circulation between authors and editors. That may seem a lot but keep in mind only a small fraction of those manuscripts ended up being bought and published. For every story published there were probably scores of never to be sold efforts clogging up post offices around the world.

Now the obvious question to ask then is, was this a perfect system? And the equally obvious answer is that no, it was not. If nothing else the sheer quantity of manuscripts in circulation ensured that some of them went astray. This is not to put the entire blame on the postal services either. Even if they did manage to lose some manuscripts on their own initiative, I doubt getting every item of mail to the right address was the easiest of tasks in the era of hand-written addresses (and that’s not even considering how many of those addresses had been copied down incorrectly in the first place).

However, sometimes problems occurred even after the postal services had successfully delivered a manuscript. Consider this extract from Rich Elsberry’s column, Nothing Sirius:, which appeared in Odd #8 (a fanzine published in December 1949 by Duggie Fisher Jr):

Some time ago, Poul Anderson sent a story in to JWC, Jr. A short time later Poul received a check for the story. Everything seemed fine till two weeks later when he received the story back from Standard Publications with a rejection slip. It was easy to deduce that something was fouled up somewhere. The story hadn’t been sent to Merwin. How did he get it? And how did it get out of JWC’s office? Poul decided to wait and see what would happen. It didn’t take long. Comes a letter from from JWC asking Anderson if he can send along the carbon, he’s lost the original somehow. Poul sent the original back to JWC but he still didn’t know how it got into Standard’s office. Noel Loomis had an answer tho; he’d had the same thing happen to him once. He figured that an agent must have come to JWC’s office and left a bunch of scripts for Campbell to look at. Later when he came back to pick up the slush pile, Poul’s story must have gotten mixed in accidentally. Later, when Merwin found the Anderson manuscript on his desk he probably checked with the agent and found out that he wasn’t handling Poul. Since it wasn’t his he must have had Merwin send it back to Anderson. While it still isn’t certain that this is the way it happened, JWC must have been pretty happy to get his story back.

The JWC, Jr. mentioned here was of course John W. Campbell, long time editor of Astounding Science-Fiction, which was generally considered to be the leading science fiction magazine at this time. Merwin was Sam Merwin, Jr., who was editing Thrilling Wonder Stories & Startling Stories for the Standard Magazines Group. By this point it’s generally considered that Merwin had raised Thrilling Wonder Stories to a level just below that of Astounding. I think it can be safely assumed that John W. Campbell was a competent editor not normally given to losing important pieces of paper within the confines of his office. So you can see that sometimes even the best had trouble with their paperwork.

However, the detail I find most interesting in regards to this story is that Noel Loomis, an author whose fiction appeared in the magazines nearly 30 times during the 40s and 50s, had experienced something similar happening to him. It certainly makes me wonder how often manuscripts went astray in the various editorial offices. Not a daily occurrence I’m sure, but given it was normal practise was for a title page containing only the names of the story and author to be attached to the front of a manuscript I suppose it would be easy for somebody to mistake one sheaf of paper for another. In which case it’s possible that in the average busy office manuscripts went missing several times a year. Now there’s a thought to send shivers down the spine of any old-time author.

No doubt you will be thinking well good riddance to that then. In today’s world of tomorrow we don’t have to send our manuscripts out as bulky bundles of paper in order to lose them, we can lose them much faster digitally. The upside to that being how much easier it is (and I’m assuming here) to locate stories sent digitally that somehow went astray. Now that’s all well and good but sometimes there are mistakes made that I suspect even the highest of hi-tech can’t thwart.

Consider for example the mysterious error described below by August Derleth under his H.H. Holmes pseudonym. This appeared in Rhodomagnetic Digest V1 #2 (published in August 1949 by George Blumenson for The Elves’, Gnomes’ and Little Men’s Science-Fiction Chowder and Marching Society). Just how the following error was made I can’t imagine but I do wonder if this makes early copies of Groff Conklin’s The Best of Science Fiction especially collectible:

The Monster From Everywhere
by H.H. Holmes

In the last number of these proceedings, Dr. J. Lloyd Eaton pointed out that the story, The Monster From Nowhere, by Donald Wandrei, reprinted in Groff Conklin’s The Best of Science Fiction, does not in the least resemble the story, The Monster From Nowhere, in The Eye and the Finger, the Arkham collection of Donald Wandrei short stories, and added an explanation from Wandrei via August Derleth that the Conklin version was “an old, discarded draft.”

Meanwhile the situation has been further complicated by the appearance of Gnome Press’ collection of Nelson Bond stories, The Thirty-First of February, which contains a story, The Monster From Nowhere, by Nelson Bond – word-for-word identical with the story in the Conklin anthology.

Mr. Derleth now writes, “Crown wrote us for permission to reprint Wandrei’s tale in the Conklin Best, and paid us on receipt of permission and the copyright form to be used. The book came out with Bond’s story under Wandrei’s name. I queried Don, saying that the story was entirely different. Without looking at the book, he concluded that somehow Conklin had got hold of an earlier discarded draft of the story, which had been lost in editorial New York, and used it. It was only later that Nels discovered his tale with Don’s byline, and Crown made the necessary adjustment.”

One trembles at the thought of the financial complexities implied in the three last words. Late printings of The Best presumably carry the correction; collectors please note this as a “point.”

I have forwarded a copy of this note to Mr. Conklin, and hope in a later issue of the Digest to reveal his explanation of what brought about this most chaotic mystery of modern bibliography.

The Donald Wandrei story appeared in 23rd November issue of Argosy while the Nelson Bond story appeared in the July 1939 issue of Fantastic Adventures. Now I understand some confusion is possible when both stories have exactly the same title but even so how does a mistake like this happen? I would assume that when Groff Conklin drew up a list of stories to be copied out for the printer to typeset he included the titles, author names, and where each story was originally published. Did Groff Conklin misremember the source and list the wrong magazine? I can’t see how whoever physically assembled the manuscript would even know the wrong story existed and include it otherwise. Unfortunately the next issue of Rhodomagnetic Digest I own is the fifth issue so if Mr Conklin tendered an explanation I don’t have access to it.

There is another layer to this mystery by the way. I’ve checked The Internet SF Data Base and not only is the Wandrei story not listed as appearing in The Best of Science Fiction but the Bond story is. Did Conklin end up sticking with the mistake because fixing it would be too hard? I assume August Derleth is to be trusted when he states that the Wandrei story was the one suppose to be in that collection so why does ISFDB claim otherwise? Could it be that whoever entered in the relevant data did not know about this mistake? If so and if the ISFDB entry was composed by somebody working from an early copy of The Best of Science Fiction then all is explained. After all, who in their right mind is ever going to question something like this without good reason to. I’m sure it’s not a mistake any of us expect editors or publishers to make.

Publishing, apparently more complicated than the word suggests.

Ray Bradbury & The Unguarded Moment

I shot an arrow into the air. Where it fell, I know not where.

It’s true that in this modern world of today the Internet and social media have elevated the social gaffe to unprecedented frequency. However, there’s nothing new under the sun and thus, even before people had Twitter and Facebook to help get them into trouble, it was possible to offer up an opinion and only then pause to consider whether it was something you truly wanted on the record.

I’ve already written about how unexpected the results can be when an author decides to kick off their inhibitions, “You want to know what I really think? Well here you go, bucko!” However, what follows here isn’t in quite the same category as the Philip K. Dick article I previously posted about . Regardless of how surprising his opinions might be to somebody not familiar with the man, Dick was still consciously writing for publication. Regardless of what the article he gave to Terry Carr for publication contained, and regardless of whether he truly believed what he wrote (rather than just messing with us) you can be sure it contained nothing he wasn’t comfortable with sharing with the whole wide world.

On the other hand the subject for consideration here and now is an article titled Ray Bradbury Speaks, which was published in a fanzine called Guts (the magazine with intestinal fortitude). The piece in question appeared in the fourth issue which was published in September 1968 by Jeffrey & Robert Gluckson. At first I wasn’t entirely sure that the piece was even by Ray Bradbury. Not only did it jump erratically from topic to topic with each new paragraph, something which seemed unlike the typical Bradbury article, but many of the individual sentences struck me as too poorly constructed to be the work of an author of Bradbury’s reputation I did hope however that it was genuine though as various of the opinions expressed in it are unguarded to say the least.

Luckily that good fellow, Denny Lien, pointed out to me that Robert Gluckson was still contactable. So I wrote and received confirmation that Ray Bradbury Speaks was in indeed by Ray Bradbury. According to Robert Gluckson the article was assembled from an interview granted to him and some other teenagers in 1968. Apparently Bradbury had asked to review his material before publication, but the editors of Guts were in too much of a hurry to publish and didn’t allow him the opportunity. The fact that Ray Bradbury Speaks is a transcription of off-the-cuff answers to various questions asked him by the boys, questions they did not choose to include in the article for some reason, certainly explains the disjointed nature of the piece. It also explains the general clumsiness of the prose because few of us, Bradbury included, can speak as well off-the-cuff as we can write.

More importantly I can see now why some of Bradbury’s comments were more than a little unexpected. In an informal setting it’s not surprising that Bradbury might make a few unguarded observations, in the heat of the moment as it were. Which would be why he asked to review the interview before publication. I imagine that if Bradbury had been given such an opportunity some of his statements would be toned down or altered as he thought better of them.

That he wasn’t given the chance to do this is all for the best as far as I’m concerned. Crotchety ol’ Ray Bradbury is more fun to read than any other kind.

Now, before I go any further I need to mention that I’ve only quoted the more interesting replies and rearranging their order to suit my own train of thought. Given the source material is a series of answers to undisclosed questions rather than an article in which the parts make up a greater whole I don’t think this alters Bradbury’s opinions in any way.

So let’s start with something that’s not too controversial but does nicely illustrate my own view of Bradbury as an author:

The movie The Cat & the Canary scared the hell out of me. I love being scared – we all do. Every kid I’ve ever known loves to be scared. So I wrote Something Wicked This Way Comes to do what? To scare the hell out of myself. I knew if I could do that, I could scare all the kids; and if I did, I’d have a classic on my hands. And it’s turning into that. A lot of kids are really getting scared – and I love it.

This makes sense to me because I prefer to think of Ray Bradbury as more of a writer of horror stories who occasionally made use of science fictional settings than an author of science fiction who also wrote a couple of fantasies as he has generally been portrayed. I would argue that even a classic SF novel like Fahrenheit 451 is as close to having a classic horror plot as it’s possible for pure science fiction novel to do. Even some of his best known and loved short SF; The Veldt, A Sound of Thunder, & There Will Come Soft Rains all strike me as being essentially horror stories that could easily have been written by Robert Bloch and published in Weird Tales. (Incidentally, according to The Collectors Index To Weird Tales by Sheldon Jeffery & Fred Cook, Ray Bradbury had no less than 25 stories published in Weird Tales between 1942 and 1948, so the horror connection isn’t as unlikely as you may be thinking.)

On the other hand I don’t put much faith in his sweeping generalisation that ‘kids’ want to be scared given he completely fails to specify what age group or level of fear he’s referring. I can’t speak for anybody else but I can assure you that as a thirteen-year-old I discovered a number of horror anthologies in my high school library. Out of curiosity I read a couple of these anthologies (which included The Small Assassin and The Foghorn by one Ray Bradbury), but decided to swear off doing so when I begun to have vague but disturbing dreams every night. Something Wicked This Way Comes I will concede contains an appropriate level of scare for younger teens but that doesn’t mean they’re ready for adult Bradbury.

So let’s get a little controversial:

I’m not a big Batman or Superman fan. The difference them and Prince Valiant is Valiant is human, and I really believe in him. In other words, if he gets into a fight, he has to get out of it through his wits, or his talent, or his imagination. But Superman and Batman get into a fight, and really, there’s no context. Everything is pre-ordained, and it’s no fun. So who cares. You know Superman can always out, but you know if Prince Valiant gets into such a situation, he can get beat up pretty bad, and almost die. If he gets into a situation with a witch, giant, or an ogre, he will then find a way to terrify, in turn, that giant or ogre by disguising himself as a bat – suspending himself by a rope in an ancient castle. It’s all beautifully illustrated, and very logical. The things that he does, you and I could do, if we wanted to spend the time on it – if we wanted to train ourselves. There’s nothing done in Prince Valiant that most of us couldn’t do if we trained ourselves as Valiant did. We’re superman in different words.

Again, an interesting but hardly controversial opinion, but perhaps only because it’s one that I agree with. On the other hand fans of superhero comics/movies might not be so sanguine. I think Bradbury is right on the money when he suggests that everything was pre-ordained in regards to the Superman and Batman of the 40s and 50s. Characters such as those were such power fantasies that they simply over-matched their opposition with inevitable regularity. However I would add that it wasn’t the inevitability of victory that was the real problem. As Bradbury himself implies Prince Valiant, and characters like him, could also emerge victorious time after time. It is after all difficult to build a continuing series if the main protagonist keeps being defeated. (Actually, I believe that in one of the British anthology war comics there was a series of stories featuring a German soldier who served during WWII. Given the inevitability of the Germans losing every encounter in a British war comic I can’t imagine he was an easy character to write for, or that serving with this fellow was anything but a suicide mission for his comrades.)

The real difference between a Superman and a Prince Valiant was the suspense created by not knowing how the inevitable victory was to be achieved. With Superman and Batman back then there was little suspense in this regard. Their abilities were well known and how they could use them to steamroller any opposition. Of course what Bradbury fails to mention is that such characters can still be made interesting by giving them problems to solve that can’t be overcome by sheer brute strength. To be fair to Bradbury though he was speaking in 1968 when Superman and Batman were perhaps still being featured in less nuanced plots (I was never into superhero comics so I have no idea how much Superman and Batman had evolved by the late 60s).

And now for some real controversy:

I have one tempera I did which is travelling around the country with a benefit for cerebral palsy, called the Halloween Tree. It’s a huge tree filled with cut pumpkins; I’m writing a film on this too. It’s going to be a cartoon, by Chuck Jones, who did The Grinch, and has done Road Runner cartoons for years. A wonderful man to work with. It’s a history of Halloween in cartoon form. It’s going to be a heck of a lot of fun, and it’s going to be much better than The Great Pumpkin show by Charles Schulz. I thought The Great Pumpkin was just dreadful. So mean. It was so dreadfully mean, to anticipate The Great Pumpkin arriving for a whole half hour, and when it was all over , my kids sat there, and they were depressed. And so was I. We finally got angry, and we wanted to kick the set. I thought it was just dreadful for Mr. Schulz not to know that you can’t build up this kind of need in people, to see The Great Pumpkin, and not have him show up, one way or the other.

I was more than a little surprised by Bradbury’s reaction to this TV special. I don’t think Bradbury grasped what Charles Schulz was trying for when he created The Great Pumpkin. To me Linus’ belief in The Great Pumpkin is all about Schulz introducing the idea of faith to his readership. If the Great Pumpkin makes an appearance then this would sabotage Schulz’ promotion of faith because faith isn’t necessary when there is clear physical proof that the thing you believe in actually exists. I’m quite surprised that Bradbury couldn’t see that.

And then we have further evidence that Bradbury wasn’t really a science fiction author:

I’ve never been a predictor of the future. I’ve left that to other people. The easiest thing you can do is predict certain developments in the future. You think of one machine, and think of what it’s going to be like in thirty years. You could’ve predicted, in 1910, that the country would be full of automobiles to the point where it would start to destroy the entire country. The automobile is our biggest problem, and it is at the center of our culture, dominating it. Ten years from now, L.A. will be totally devastated. It’s so easy to predict this. We’re doing nothing to prevent it. New York is being destroyed by the automobile. We’ll have to ban the car. Downtown in L.A. looks like Hiroshima right now. This is so easy to predict – it’s no fun. It’s the easiest thing in the world to say.

It was wise of Bradbury to deny he was ever in the prediction game given how his claim that the automobile was about to destroy city life has turned out to be a big swing and a miss. However it wasn’t so wise of him to claim that predicting the future was so gosh darn easy given how his claim that the automobile was about to destroy city life has turned out to be a big swing and a miss. (Well, okay, you can make a case for the automobile degrading, and thus ‘destroying’ city life, but my impression is that Bradbury meant that the car would make cities uninhabitable, and that has manifestly not come to pass.) In an answer to another question (an answer not included here) Bradbury mentioned recently witnessing an accident in which a pedestrian was hit by a car and I suspect this coloured his response more than a little. Even so I suspect his claim that cars were destroying everything was more wishful thinking by an author in love with the idea of small town life than well considered prediction.

Back to the controversy:

I’m much more interested in moral attitudes. I’ve never predicted, I’ve only expressed myself in moral situations. Given television as a fact of life: how do we raise our children; how do they raise us; what does this do to personal relationships; how does this change our lives? What does it do to the family; what does it affect? Will it destroy us? Will it weaken the bonds in the family – or will it strengthen them? What will it do to our reading habits? Well, we find out it’s increasing them. Librarians were all worried when TV came out. They were all running around and bleating like a bunch of chickens, afraid that libraries would close down, books wouldn’t sell any more, people wouldn’t read. Well, the reverse has happened. The doomsayers were wrong. The TV has only made us more curious about the world. If there could be only a little texture… we need books to tell us what we really must know, because TV can’t give it to us. It can only give us pictures, and this is the beginning of knowledge. And then we have to move on from there.

Now I was under the impression that Ray Bradbury had a low opinion of television based on quotes such as this; ‘The television, that insidious beast, that Medusa which freezes a billion people to stone every night, staring fixedly, that Siren which called and sang and promised so much and gave, after all, so little.’ For that matter I thought he had a high one of librarians based on quotes such as this; ‘Without libraries what have we? We have no past and no future.’ Perhaps given when he said all this it’s possible he was still positive about TV and only grew more negative later on. More inexplicable is his negative comment about librarians. Bradbury is noted for his support for and identification with librarians so to find him saying this was more than a little unexpected.

But wait, it gets better:

There’s a strange story behind R Is For Rocket and S Is For Spaceship – I wrote those two books to go into libraries. The librarians of America are too dumb to take my books from the grown-up section and move them over into the children’s section of their libraries. The kids have to go over to the adult section to get my books. Librarians are too dumb to know that kids are hungry for certain books. So I was forced into writing these two books which are nothing more than stories from some of my adult books. I get a few pieces of mail over the years saying that I am a fraud, a cheat, and a liar. The thing is. They shouldn’t blame me, they should blame the librarians. If they would just bring my books over to the children’s section, I wouldn’t have to do this. I have to put out S Is For Spaceship and R Is For Rocket, which say on the “For Young Readers”. Then they have enough brains to put them on the shelf. I have this sort of nonsense with librarians so often, it drives me up a wall. That is why the two books exist.

Wow, just wow. So much for Ray Bradbury, friend of librarians, eh? I guess his high regard for the office of librarian depended on them falling into line with his desires. Again, it would also help if Bradbury had been a little less vague in his terms. What age group was he referring to when he mentioned ‘kids’ and just which stories of his did he think they should be reading? Given my previous comments about encountering Bradbury as a young teenager I think that on the whole I’m with the librarians in this matter.

And now here’s my favourite Bradbury response to a question:

Look at all the imitations of the Martian Chronicles that have come out – it’s still holding its own. I find that I write a number of stories in a number of fields , and they manage to stick around anyway. The bad stuff vanishes after awhile – it’s just not good enough. There’s a guy named Bradbury writing books over in England, and having them published. They’re science fiction-fantasy, like John Carter – Warlord of Mars; and a whole series of Martian books by a guy named Edward P. Bradbury. I know his publishers are hoping that people will mistake him for me. It doesn’t work that way. He’s not good enough. If he were better, I’d be in trouble; but I’m not. I think excellence finally wins out. The really good writers will stay around – Sturgeon, Arthur Clarke, Heinlein, Fritz Leiber; and eight or nine others, and myself. We’re good. We’re very good. That’s the first thing you learn: how to tell quality from something that has no quality. You’re not going to get any false modesty from me. I don’t believe in modesty. I don’t believe it’s a virtue. I believe you know what you want to do, and that you should grab onto it, and run with it, and have a ball with it, and have great fun, and love it very much. Then you’ll do good work. That’s what I’ve tried to do.

To properly appreciate the above you need to know that Edward P. Bradbury is a pseudonym of Michael Moorcock. Now as it happens Moorcock was, and possibly still is, a big Edgar Rice Burroughs fan who had for some years as a teenager edited Tarzan Adventures, a Burroughs themed magazine. As far as I’m aware the Edward P. Bradbury trilogy was a tribute to Burroughs, in particular his Mars series. Now while I’ve never seen any explanation as to why he chose the pseudonym Edward P. Bradbury I doubt it was a deliberate attempt to leach off Ray Bradbury’s fame. If nothing else these books were Burroughs imitations and nothing about their packaging ever hinted at a connection with the author of Fahrenheit 451. If the the blurb writer had claimed ‘In the tradition of Something Wicked This Way Comes‘ I would concede that Bradbury had a point but as far as I recall the British paperbacks at least screamed Burroughs. As to why Moorcock decided to use a pseudonym at all, well I suspect he didn’t want the Edward P. Bradbury books to be confused with the various series set in his ‘Eternal Champion’ universe as those books had a very different tone and somebody expecting Elric of Melnibone style adventures might be disappointed by a Burroughs tribute.

This also raises the interesting question of whether in 1968 Ray Bradbury knew Edward P. Bradbury was a pseudonym, and if so who the pseudonym belonged to. It’s quite possible that he had no idea at the time because I’m not sure he was moving in science fiction circles much outside of Los Angeles. Still, even if he was aware perhaps it wouldn’t have made much of a difference. I have no idea what Bradbury thought of Moorcock’s fiction (assuming he had even read any in 1968) but it wouldn’t surprise me if he hated characters such as Elric of Melnibone and Jerry Cornelious and wasn’t adverse to giving their creator a hotfoot with his Edward P. Bradbury comments.

And in conclusion:

I’ve often said, if some young man wanted , one hundred years from now, to take out his chalk and mark on my tombstone, I would like him to mark on it “Here Lies a Teller-of-Tales”. That’s a good honorable thing. I’ve always been intrigued with stories that I’ve heard about Baghdad, ancient Persia – the market places. Even today, if you go down a side street in some of these small, Mid-Eastern, dessert towns, you’ll find magicians and the tellers of tales. It’s an ancient heritage, and a very wonderful one. I belong on the street of the tellers of tales – and that’s the only place I want to be. I’ve no more pretension than that.

And finally here we have Bradbury trying to be humble in the same interview that he claimed not to be humble or modest. You need to pick one Mr Bradbury, either you’re one of the elite band of excellent authors or you’re a humble teller of tales with no more pretension than that. I don’t think you can lay claim to both.

And this gentle ready, is the danger of the unguarded moment. I don’t think Bradbury said anything irredeemably offensive but yes, I’m pretty sure if he had seen the transcript there are a few comments he would have been happy to tone down or qualify.

You know what the road to Hell isn’t pave with? Second thoughts. Something we could all do with remembering before pressing enter.

Some Achieve Greatness

Temporary Note: For reasons that I’m sure make sense to itself the company which has supplied my phone and Internet connection for the last decade recently decided to celebrate the upgrading of the local telecommunication network by closing my account with them and deleting my phone number. Currently I’m in the process of rectifying this but it’s taking longer than expected due to some uncertainty as to whether I and my home address actually exists. I’m pretty sure I exist and so does the apartment I’ve lived in for the last ten years but apparently my word doesn’t count for much within the telecommunications industry. Anyway, until such time as I have a home connection once more I’ve been reduced to using wi-fi wherever I can find it, a situation not really conducive to regularly posting at Doctor Strangemind. Normal service will be resumed just as soon as it’s agreed that I’m real and so indeed is my apartment (and if not, then why the heck did I have to pay all those phone bills?)

The green shoots of talent are hard to predict.

Like most of the mouldy hepcat set I see myself as being part of my absolute favourite John Belushi film is The Blues Brothers. I doubt many of you would find this fact, or the fact that my second favourite Belushi film is Animal House, particularly surprising. Just as few of you are likely to be shocked when I tell you my favourite line from Animal House has Belushi delving into alternate history:

Bluto: What? Over? Did you say “over”? Nothing is over until we decide it is! Was it over when the Germans bombed Pearl Harbor? Hell no!

My second favourite line from Animal House is, I believe, a more controversial choice. It’s uttered just after the boys return from the road trip and Flounder discovers the terrible things that has been done to his brother’s car. It’s at that point that Otter channels his inner politician and utters the most utterly perfect statesman-like line ever uttered:

Otter: Flounder, you can’t spend your whole life worrying about your mistakes! You screwed up… you trusted us! Hey, make the best of it! Maybe we can help.

Oh, and look, a science fiction reference at last. Flounder was of course played by Stephen Furst, who went on to play Vir Cotto in Babylon 5. And would you believe it, my two all time favourite scenes from Babylon 5 feature Stephen Furst as Vir (one involves Vir & Lennier stress relieving in the bar together, the other involves Vir telling Mr Morden that what he, Vir, wants is to live just long enough to see them cut Morden’s head off and put it on a pike so he can wave to it).

The speech I really want to quote however occurs early in the movie when the Deltas are deciding on which pledges to accept and Flounder’s picture appears on the screen. Most of the Deltas respond in a less than impressed manner but then Otter gets up and gives a speech about why he should be admitted:

Otter: Okay, okay, this guy is a real zero, that’s true. Just think back when you guys were freshmen, huh? Boon, you had a face like a pepperoni pizza, right? And Stork here, everybody thought the Stork was brain damaged. I myself was so obnoxious, the seniors use to beat me up once a week. So this guy is a total loser? Well let me tell you the story of another loser.

I love that speech because it reminds us all that no matter how successful or weird or clever or pompous we are we didn’t start that way, we had to work at it. Nobody starts as the mightiest tree in the forest, we might begin as a Flounder but only time will tell if we end up putting the burn on our very own Morden.

But you don’t have to believe Otter or myself. Let me quote from a speech made at the 1983 Disclave by one of the authors attending that con (for the record the text of this speech was reprinted in Bill Bower’s fanzine, Outworlds #34). Our mystery author begins thus:

I have been to Disclave before. Once. That was why I was so pleased when Alan Huff asked me to come east. Because it so happens that I attended the 1971 Disclave, and it so happens that it was my very first SF convention.

Interesting… Go on mystery author:

Maybe a few of you were here in ’71 too. If so, maybe you remember me. I looked a little different back then. My hair was shoulder length, just like everyone else’s, but I was still clean-shaven, I didn’t stop shaving until 1974. Even then, I was a snappy dresser. In fact, I was a hell of a lot snappier. As I recall, I wore my Psychedelic Hippie Pimp outfit to the con: ankle boots with zippers, burgundy bell-bottoms, a bright solid green tapered body shirt, a black satin scarf, and — the piece de resistance — my famous double-breasted pin-striped mustard-yellow sports jacket. Perhaps now you veterans recall me. I was the one wandering around the con suite doing permanent retinal damage.

Gah! I can’t imagine an outfit like that would be easy to forget. However, this doesn’t seem like a random wardrobe choice, oh mystery author:

You might wonder why I dressed up like I did. After all, it was only a con.

Yes, the thought did pass my mind:

…I figured I had to dress well because I was gonna be such a center of attention at Disclave, You see, I wasn’t no mere neofan wandering into his first con. Hell no! Not me! I was a filthy pro! Well, maybe not filthy, but dirty anyhow. Smudged a bit around the edges. I’d sold two stories. My first story had been published in Galaxy just that February. (Anyone here remember Galaxy?) My second I’d just sold the month before to Ted White for Amazing. It hadn’t even been published yet. In fact, I hadn’t even been paid for it. But I knew Ted was going to be at the con, and I was looking forward to meeting him. He was the editor of a major prozine, after all, and I was a brilliant new writer he’d just discovered, so I figured he’d certainly want to take me out to an expense-account dinner at Sans Souci, and I didn’t want to be under dressed. Besides, I figured I had to impress all the fans who’d be coming up to me for autographs. After all, I’d published a story! Hell, I’d made a career total of $94 from SF writing at that point, and I was gonna burst through into triple figures once Ted paid me.

Galaxy February 1971

Expectations, you can have all that you want because they don’t cost a cent (at first anyway). I guess making that first sale ensures every budding author feel like singing that line from I’m On My Way (as sung by The Proclaimers), “I’m on my way from misery to happiness today!”

Well, things didn’t quite work out the way I’d planned at that first Disclave. I must say, though, they started off promisingly enough. Once I found the con, that is. This was 1971, you must recall, and Washington didn’t have subways then, just holes-in-the-ground that screwed up traffic, plus a lot of buses. The con was at a different hotel, the Shoreham I believe, and I’d never been there, so I got on a bus Line I’d never ridden before and asked the driver to let me know when we came to the Shoreham Hotel, and settled down to read or look out the window or do something or other. Next thing I knew we were at the end of the line and everyone else had gotten off the bus. I had to ride all the way back, but finally I did find the hotel, and after that I managed to find the consuite. Just inside the door there was a table set up where they were taking registration. Sitting behind it was the very first science fiction fan I ever met. He was a very skinny guy with hair down to his waist and an extremely scraggly beard and a manic gleam in his eyes. He looked sort of like an orange Rasputin. He was not as well dressed as I was. But I forgave him that, because when I paid my money to register, he recognized my name! “Where have I heard that name before?” he asked me.

Oh yeah baby. The thrill the first time you arrive at a con and discover somebody you haven’t already met knows who you are. Notoriety is addictive! The world recognises that I exist! I have been validated!

I modestly allowed that I’d had a story in the February Galaxy and perhaps he had seen my by-line.

‘Shit!” he yelled. “I bought that story!” Then this skinny, hairy, orange guy introduced himself. His name was Gardner Dozois, he claimed, and he was an editor at Galaxy.

And now the plot thickens. At least for any of you familiar with the the name Gardner Dozois. I assume one or two of you who read this are (he assumes facetiously).

Then he buttonholed another skinny, hairy guy who’d come over to check on registration or something. “Jay,” he said. “here’s a guy I fished out of the slushpile.” Jay, as I recall, hadn’t read the story. In fact, although Gardner was to, introduce me to several other people at the con as a guy he’d fished out of the slushpile, none of then had read the story either. gr head of-it. Gardner was the only person at Disclave, or in the entire district of Columbia, it seemed, who was cognizant of the fact that I’d published a story.

I could suggest here that pride goeth before a fall but that would hardly be fair. Our mystery author later mentioned in his speech how in 1971 he was shy and something of a wallflower so I’m willing to bet he wasn’t as keen for mass adulation at the time as some of the material above suggests. He was surely sensible enough to realise he had done very well to encounter not one, but both editors who had bought a story of his (yes, he eventually met Ted White though he didn’t have much to say about that event).

I think that on the whole George R.R. Martin was pretty satisfied with his first public outing.

Yes, the man behind Game of Thrones was once a shy newbie wearing a mustard-yellow jacket and burgundy bell-bottoms. Would you have spotted him as a talent to watch? I doubt very much that I would have. So you see what I mean about nobody starting as the mightiest tree in the forest. George R.R. Martin may have begun his as career as the literary equivalent of Flounder but since then putting the equivalent of a burn on Morden is the least of his achievements. And that’s the thing, you might see somebody wearing an unlikely outfit talking excitably about the story they just had published and you may be tempted to roll your eyes. However, stay your contempt for at least a bit, unprepossessing as that individual may seem at first glance can you be really sure that they won’t become the next George R.R. Martin? And wouldn’t you like to be able to say, “I remember when…”

 

P.S. I have a theory by the way that Dave Jennings, the professor in Animal House, is actually Oddball, the tank commander from Kelly’s Heroes, fifteen years older (it helps that Donald Sutherland played both characters). I like to think it adds depth to both films, illustrating how the rebels of one generation can end up out of their depth when dealing with the next generation.

On the Newsstand

Adversity always inflames the enthusiast.

It’s 1955, Elvis Presley is on the radio, Dragnet is on the TV, and last but not least Astounding Science Fiction is on the magazine racks. So here is Joe Fan pushing open the door to his neighbourhood drugstore in Anytown, USA. It’s the start of of a new month and Joe is eager to begin searching for the latest instalment of his favourite form of fiction.

He pauses briefly in the doorway to take in the magnificent sight before his eyes. Row upon row of bright coloured covers hint at the wealth of wonders waiting just behind them. Everything sort of fiction magazine a keen reader could want is laid out in serried rows, detectives, westerns, sports, air war, jungle adventures, true romance, the choices seem endless.

But what is this, where is Joe Fan’s favourite form of reading? He can see everything but the science fiction he so desperately craves! How could this be he thinks to himself and turns towards the counter to inquire into the availability of current SF magazines. But before Joe can utter a single word the druggist has turned and scurried to the rear of the store. Joe sighs upon seeing the elderly gentleman’s retreating back and girding his loins strides to the nearest rack in order to begin pawing through the literature on display.

Eventually, in a corner assailable only by climbing three towering stacks of hot rod magazines and crawling over a dusty mound of fading newspapers does Joe at last find what he has been looking for. Scrambling back into into the afternoon sunlight he takes another look at the contents of his hand, only to discover what he holds are nothing but almost mint copies of Stirring Science Stories. He drops them with disgust.

Joe frowns and resignedly crouches behind the stacked magazines. Tearing the cover off a copy of Hot Rod’s he pokes out Jack Webb’s eyes and stares through the small holes as he lays in wait for the druggist. Eventually that elderly gentleman comes shuffling back from the shadowy and mysterious recesses of the store. Joe Fan leaps up, the Hot Rod’s cover held before him, “Hold it right there friend! I’d like to ask you some questions!”

The druggist recoils in surprise, staggering back against the counter, “Please Mr Webb! I ain’t done nothing wrong. You can’t take me in, I have a business to run!”

Joe waggled the magazine cover menacingly, “Now none of that. I just want the facts doc, just the facts. Where are you hiding Astounding and the other science fiction mags?”

The druggist frowned, “You’re not Jack Webb. An upstanding detective like him would never be interested in perverse trash like that. The science fiction is out the back where it belongs young fellow me lad and there it will stay. I only sell science fiction to customers who can prove they’re over 21. So unless you have some proof of identity be on your way!”

Joe Fan knew a losing battle when he saw one. The whole business with Ray Palmer and the Shaver Mystery had aged him beyond his tender years. Without another word he turned and strolled out of the drugstore as casually as possible. However if the druggist had but seen Joe Fan’s face lost in thought he would know that this was not the end of the matter, not by a long shot.

Drugstore Magazine Rack

Poor Joe Fan! All he wants is to buy the latest issues of Astounding, Galaxy, and if he’s feeling particularly sophisticated, F&SF. Unfortunately for Joe the delivery of his favourite reading material was a cooperative effort. In order for Joe to set eyes upon any magazine the delivery process required not just a publisher but a printer, distributor, and retailer as well. Which wouldn’t be so bad if it wasn’t for the fact that none these businesses cared about Joe’s reading preferences. In particular Joe’s druggist had little incentive to sell that one extra copy of any title. Even today the average retailer of magazines has hundreds of magazines in stock, and really, so long as all these titles as a group sell a decent number between them each month what does it matter to the business if a particular title sells 6 copies or only 5?

Luckily for Joe he had somebody looking out for him. Well to be honest that somebody was actually paid by certain publishers to look out for them but if the end result allowed Joe to buy his favourite magazines who are we to quibble?

Time for me to introduce Dave Mason. I doubt you’re familiar with the name because while he did sell a few stories over the years he was hardly prolific. While writing wasn’t the primary means by which Dave Mason earned a living he still knew something about the magazine business. According to an article by Mason published in the November 1955 issue of Ron Smith’s fanzine, Inside & Science Fiction Advertiser #12, he was as involved with the publishing business as most authors. In this article Mason put his two cents into the debate various authors had been having in the pages of Inside about why the science fiction field had recently gone from boom to bust. I’m sharing a slightly pruned down version of this article here because Mason goes into a lot of fascinating detail about how things worked at the coalface of the of the magazine trade in his day. (And are things so very different today? I suspect not.) He also offers a good many opinions that I found amusing and which will hopefully amuse you too.

But before you dive right in a couple of points. First of all Mason uses a couple of slang terms that have left me slightly confused as to their meaning. I included them in for that authentic fifties feel but don’t expect me to be able to explain what they mean. Secondly, I’d be curious to know if anybody can make an educated guess as to which magazine Mr Mason was referring to when he wrote about the situation with ‘Exasperating Tales‘. My first thought was that ‘Exasperating Tales‘ was really Imagination as published by William Hamling but I’m not sure if that guess makes sense or not.

Mason

I am getting awfully tired of this whole silly argument, chums. And I do mean the argument about what’s with the boom/bust/bwah of poor old science fiction. Look, I ain’t no lit’ry type, see? I wrote a story, and it got published by a fella named Shaw in a magazine called Infinity, but nobody invites me to pro parties, and H.L. Gold doesn’t know me from Hubbard.

But there’s one phase of this silly business I do know about. And it’s the one thing that all of the brilliant editors, publishers, authors, such who’ve been belaboring each other appear to know very, very little about, and care less. And that is a thing coarsely known as distribution.

I get paid for knowing something about it. Not as much as Horace gets for editing Galaxy, not even as much as an apprentice printer gets for running his fingers across the web to create that interesting smudged effect Beyond used to go for, before Beyond went annual. But for the mysteries whereof I am adept, I get a small purse of gold which may or may not prove that my services are worth something to somebody.

The firm for which I slave is a poor one, and one of many such; it’s generally called, before ladies, a publisher’s representative. This means that magazine publishers, on being confronted with the dark jungle that lies between the printer’s shipping room and the customer’s cash, cry aloud for a white hunter to guide them through, defend and preserve them, and lend them comfort when the drums beat loud. That’s us. We bedevil, pursue, and harry newsdealers; we ceaselessly shove excess copies about the highways and byways; we stick up posters, enchant with smiles and soap, make endless statistics, and perform similar mantic arts to the end that nowhere in the civilized world may any man, woman or fan step into a newsstand and be confronted with the absence of a magazine we represent.

Now, these arts are a dark mystery to nearly all editors and publishers. When they are handed the plain and simple results of a great deal of legwork, and those results fail to correspond with some airy theory they have may have about their publications, the genii simply ignore them. Therefore follows trouble, such as now, and for quite a while, has beset science fiction.

To cite an example: There is, upon the lists of my firm, a Certain Magazine, which we shall call Exasperating Tales. The publisher of ET pays us for our services, but apparently is not sufficiently interested to find out exactly what those services are. The editor, nobody’s fool otherwise, does not even know we exist. I know, because I met him once and mentioned that I worked for the firm that represented his publication. He appeared to think we had something to do with printing it.

Now, Exasperating is slipping. It’s slipping so badly that it’s a mystery as to how it keeps going. On the other hand, earnest efforts by us help keep it going (no, we don’t want gratitude – we get paid).

It doesn’t take much research to find out why. There is a strictly limited market for the magazine in question and too many copies are going out. But it wouldn’t be quite such a limited market if a few touches were added; the covers could be better, for instance, and certain other things might help. And, although we don’t advise on editorial policy, if enough newsstand buyers are saying the stories stink, we hear about it and report the fact. Mind you, we don’t say we think they stink, but that newsstand buyers do.

And this, together with other information such as the way the magazine sells, where, and during what part of the on-sale period, is reported to the publisher. If he does anything about it at all – and he often doesn’t – he seldom if ever mentions anything to the editor. The editor works in a vacuum, with only a few letters to tell him anything: and those letters are usually from rabid fans, who aren’t representative of the general reading public.

But now, just how does this whole set-up I’m speaking of work? What be these mysteries of which editors are blissfully ignorant? How is it that the vintner sells? Well…

You have thirty thousand nicely printed copies of Frenetic Fiction, Volume One, Number One. You are a publisher.

You aren’t going to wait around until enough people mail you subscriptions. You’re a publisher, but you have some sanity left. What you need is a distributor who will put copies on newsstands and in stores. You take a look at what’s available.

There are a few small time distributors who carry a few very popular magazines to routes in various areas. Those we don’t even think about. Then there are a couple of so-called Independents (since one man’s family owns ’em all, the term ‘Independent’ is by courtesy) and there is the Big ‘Un, American News. Your decision on which to use is based on the kind of magazine, the number of copies to be sold, its expected popularity, whether you can afford American News’ rates for national distribution, etc. Once you’ve made up your mind, the favored outfit gets your 30,000 hunks of deathless literature and proceeds to wreak.

The distributor’s method is usually to examine your mag and, after uffish thought, to decide that Frenetic Fiction is very like The Quarterly Fetishist, on the basis that the same sort of moron buys both. However, since the lad who makes this decision is probably a guy who moves his lips when he reads, and who thinks Amazing is science fiction, he can quite easily be fooled into using Boot & Shoe Industry as a comparison magazine for Boats & Ships.

Once his usual slightly wrong decision has been made, our distributor’s expert proceeds to make a distribution. He does this by opening up his lists of dealers and saying, “Well, Gooha’s Stationary Store gets six copies of The Quarterly Fetishist, sells four. Give him eight of Frenetic Fiction, on account we got twice as many copies to get rid of.” Thereafter the distributor using these figures carries copies of Frenetic, along with all the other magazines he handles, to Gooha, and to all the other stores and stands called for.

Gooha opens the bundle and sees a new magazine among the others. Gooha, you must remember, is a high grade moron, much smarter than the average fan. He is in the magazine business because at an early age his Aunt Tchasha bought it for him; she correctly figured that books and magazines were the only stock in trade he wouldn’t try to steal. He hates the magazine business – all newsdealers do. They make much more on candy bars and reefers, and they only keep magazines in the place so the cop on the beat can have something to paw over when he comes in for his weekly ice.

Gooha cannot read, but he can recognise a new magazine. He resents the very idea of a publisher trying to make him sell something. He grunts and flings it under the counter, to be returned at the end of the week without ever having been visible. If you ask Gooha about Frenetic he will say, quite truthfully, “Duh, it didn’t sell.” That’s right, it didn’t, none of his customers having X-ray vision.

The magazines are given to Gooha and his anthropoid brethren on consignment, which means he only has to pay for what he inadvertently sells. He has to pay a very small carrying charge and he has to keep a small sum on deposit with the distributor; also, he must return a magazine which has not been sold in order to get credit. The dealers resent these various small curbs on what they would like to do, which would be to evade their bills, swindle everybody involved, and possibly sell the unsold magazines for pulp.

Now, among other things, I make up distributions for publishers. Having personally visited Gooha and a thousand others of his ilk, I know him well. I know what his stand looks like, his habits, his prejudices, what sells well and what doesn’t. Judging by this, I try to give him enough copies so that he will have to return only two or three.

If he ‘prematures’, or returns copies before the end of sale period, or if he sells out rather quickly, I will find out about it. If, for instance, I don’t see Frenetic right out there in front, I’ll ask him where it is. I may try to do him little favors like adding up 3 and 7 so his accounts will come out straight. But with smiles and soap I’ll get copies of Frenetic out in front where the madding crowd can see it. If he returns copies, re-orders will appear in his mail the same day. If he tries to sell them out fast, I’ll be there with more. And, as returns come drifting back to the distributor, I’ll be there waiting with a list of dealers who have never received Frenetic, to whom returned copies can be sent, thereby making certain that no copies stop moving till the end of sale.

Now, there’s more to promotion than this; I’m not writing a book on the subject. But the whole basic concept of promoting is the same anywhere, in all fields. It’s this: Make a noise. Beat on a tin pan in the market place and cry loudly, “I have oil and wine, o ye Faithful!” And whether the wine be good or bad, the loudest pan-beater sells the most. Being an idealist I would prefer that the loudest pan-beater also be a good wine-maker, but there’s no necessary connection.

I shall now make some highly radical statements.

Number one. I know, better than – certain other parties – what kinds of science fiction will sell, which will sell best and which will not sell at all. Now, when I speak of promotion, I don’t mean that lousy stuff of the SF Plus or Amazing variety will naturally sell better than Astounding or Fantasy & Science Fiction. It doesn’t, unless, as in the case of Amazing, the enormous push of a big chain publisher’s sales and circulation staff are put behind it. Rap didn’t make Amazing into the leading seller single handed, and he didn’t do it simply by making it the awful crud that it was; he did it because Ziff-Davis knew how to make magazines sell. That’s nothing in Rap’s disfavor – it’s easy for him to think he was the prime mover, because, as usual, the editorial department lived in Parnassus, above the madding throng of circulation men.

On the other side of that coin, SF Plus, which did its best to be much worse than Amazing, and succeeded to a large extent, was a tee-total newsstand flop. That was not merely because it was as bad as it was, but because there was hardly any shadow of an attempt made to circulate it properly. It’s doubtful if any amount of promotion could have helped that item, but it might have; you never can tell.

Second radical statement. Science fiction – real science fiction, and good fantasy, adult stuff – will never have a really large market. On the other hand, there’s a good steady small market for a few magazines of quality. Unless you publish the kind of thing Imagination does, which simply cannot be classed as anything but comic book stuff, you aren’t going to get large sales. So don’t try.

Which to digress into another phase of the lunacy that is the publishing business. Whenever anything appears to be selling well, there will be seventeen other publishers, most of them of the sort that operate out of hats and strictly on credit, who will rush to supply the obvious public hunger with seventeen imitations of the successful item. There are three or four imitations of Mad on the stands now; there will be ten or fifteen imitations of Shock as soon as the other publishers find out how well it’s been selling. And every time there’s a slight upturn in SF there are seventeen hungry impresarios waiting to turn out imitations.

Third radical statement. Fantasy & Science Fiction and Astounding are going to last just as long as Boucher and Campbell feel like running them. But I wouldn’t be at all surprised if Galaxy suddenly went poof. I’d be sorry, because I like it. But I don’t think SF would feel the loss.

My reason for comparing Fantasy & Science Fiction and Astounding with Galaxy is this: Boucher and Campbell know a great deal about their public, and have been giving them a pretty consistent diet of what that public wants. Gold, on the other hand, is a guy who knows what he likes, and that’s what he’s going to publish. If you happen to share all of Gold’s personal tastes – which would be difficult – you’ll like Galaxy all the way, every issue. If you don’t, Galaxy will ultimately begin to bore you.

So, from an illiterate, hairy-hoofed, harrier of dealers and juggler of distribution, these words of wisdom: One of these days there will come out of the desserts a Great Man, some editor-publisher who will know how to put together a good general SF magazine. An editor who will put as much effort into promotion and distribution as he does convention activity. And then, we shall see…

Alas for Dave Mason his final prediction never came to pass. Indeed it can be argued that by 1960 the few remaining science fiction magazines had been relegated to a place behind the newly dominant paperbacks and would remain there for ever more.

Now before I finish we need check in on Joe Fan.

That night a shadowy figure crept across the roof of a certain drugstore and with trembling fingers eased open the skylight. A moment later that same figure lowered itself into the store down an Acme brand Chain of Logic and with a soft but gleeful laugh headed for the unlocked storeroom.

And so it was that sooner or later each month Joe Fan’s druggist foe would find his magazine racks mysteriously rearranged and the despised science fiction prominently displayed. He was so disheartened by this mysterious turn of events he could barely bring himself to accept the money customers kept pressing into his hands…

 

To Pervert & Stultify

Did the capitalist running dogs really knee science fiction in the groin?

I’m sure you’re all grown weary of the cry that it’s all been done before so I won’t be surprised if none of you care to read past this sentence. I am, as you no doubt feared, going to assure you all that everything you dread encountering online; spam, trolls, scams, flame-wars have all been a blight on humanity long before there was an Internet for it to fester on. Heck, way back in the early 80s I even received a badly photocopied example of the Nigerian fraud letter in the post. Yes, it’s true, there was indeed a time when scam artists had to pay for a stamp in order to lure you with their too good to be true promises.

Which brings me to the topic du jour, the practise of denouncing science fiction. It seems to me that denouncing science fiction has been something of a popular blood sport in recent years. Not just the usual catalogue of disdain from outsiders declaiming that science fiction brings nothing of value to literature. The adherents of li-fi have always been a bit sniffy about other categories of genre fiction, genres such as spy-fi, sigh-fi, and Twi-fi, but sci-fi and its supposed obsession with talking squids in space especially raises their hackles. But don’t take my word for it, go read the As Others See Us sections in Dave Langford’s newszine, Ansible, if you really want to see what such people think.

However these days even some those within the fold have been getting snarky about whole sections of science fiction which they feel aren’t up to snuff. (For the record please note I’m not going to get any more specific than that. While I’m not without opinions I think that having one more person thrashing around in the big tub of lime jello controversy shouting, “Have at thee knaves!”, is, at the very least, redundant.)

Anyway, getting back to the topic of it all having been done before, would you be surprised like to learn that once upon a time the entire field of science fiction was denounced by the Soviet Union? Puts more recent kerfuffles into perspective, doesn’t it? After all, how many genres can say they were once condemned by a superpower?

It was in Fantasy Review VII #12, a fanzine published by Walter Gillings in December 1948/January 1949, that the condensed version of an article titled The World Of Nightmare Fantasies by Victor Bolkhovitinov and Vassilij Zakhartchenko was reprinted from the Soviet literary journal, Literaturnaya Gazyeta. Literaturnaya Gazyeta was a Russian newspaper with literary roots dating back to the 19th century. However in 1947, the format of Literaturnaya Gazeta was changed from a purely literary publication into a newspaper with political and social content as well.

This explains a lot because The World Of Nightmare Fantasies is an article about ‘capitalist science fiction’ so long on assertions and so very short on reasoned argument that it’s hard to imagine any literary journal, even one published in the Soviet Union, being willing to print it. On the other hand it’s exactly the sort of article I’ve seen published time and again in one political echo chamber or another. Such articles don’t need to prove any of their points when their base purpose is to confirm pre-existing prejudices.

However to be entirely fair I do need to point out that if the prose is somewhat clumsy at times then the translating and condensing of this article by unknown hands is the most likely reason. I would also blame various incorrect story titles on the quality of the translating (though why editor Gillings didn’t see fit to correct these is beyond me). For the record The Mysterious World by Eando Binder is actually Mystery World, The Secret of Mr. Wiesel by Eric Frank Russell story was actually Mr. Wisel’s Secret (later changed to Mr. Wisel for the short story collection, Dark Tides), and The Incredible Pebbles by Robert Moore Williams is actually The Incredible Slingshot Bombs. There’s also a story mentioned that’s not attributed to any author and neither I nor the incredibly knowledgeable Denny Lien have been able to divine who wrote The Lights of Mars since we can’t find any stories with this title predating the Soviet article. I can only assume that this has been mistranslated and thus who the author was is lost to the sands of time.

On the other hand I don’t think we can blame the excessive amount of invective on the anonymous translator(s). While I would assume that sentences such as, ‘The authors of these ‘scientific-fantastic’ works do everything to pervert and stultify their readers.’ read better in the original Russian version I doubt the level of hyperbole was any less absurd.

Then there is tin-ear use of language but here I don’t know who to blame. Part of me is certainly in love with the idea of a heavily bemedalled political commissar handing messrs Bolkhovitinov and Zakhartchenk a list of words and demanding that they use all of them when referring to the authors they would be criticising. However in the spirit of impartiality I have to accept that it’s entirely possible the anonymous translator(s) are to blame for some or all of the less than smooth word choices such as ‘miasma’, ‘hooligan’, ‘stultify’, and ‘ignoramuses’.

One last point, editor Gillings points out in a footnote that though this article was written in 1948 the stories discussed all date from some time previous to that. This made me wonder where the magazines had come from as I would assume wartime issues would be the least likely to make it to the Soviet Union given there was a war right in the way. My initial thought was that the authors of The World Of Nightmare Fantasies had based their research on magazines that had been taken to Europe by the US military during WWII and which had then somehow filtered through to the Soviet Union. However that only works for those named works which appeared in Astounding. Stories mentioned which were published by Amazing and Thrilling Wonder date from long before US troops set foot in Europe. For the record here’s a quick list of the named stories with their publishing origins. As you can see it also suggests Bolkhovitinov and Zakhartchenk were working from a rather small sample:

The Crystal Invaders – 1941 Thrilling Wonder
Mystery World – 1941 Thrilling Wonder
Mr. Wisel’s Secret – 1942 Amazing
The Incredible Slingshot Bombs – 1942 Amazing
Adam Link Saves the World – 1942 Amazing

Though Dreamers Die – 1944 Astounding
Renaissance – 1944 Astounding
Lilies of Life – 1945 Astounding
Destiny Times Three – 1945 Astounding

I’ve reproduced the entire condensed version of The World Of Nightmare Fantasies here so you might enjoy the authors attempt to crush various butterflies of fiction with their rhetorical sledgehammer.

And now for the fireworks:

The World Of Nightmare Fantasies
by Victor Bolkhovitinov &
Vassilij Zakhartchenko

The American Raymond F. Jones, experienced writer of “scientific” fantasies, attempts to lift the curtain of the future for the reader. He uses all his flaming imagination in describing a machine which analyses the inclinations , talents, character and other potentialities of a new-born infant. If it finds the child normal, it returns it to the arms of the waiting mother. If it finds a future “superman,” the mother will never see him again; he will be sent to a world “parallel” to ours where he will be raised without the help of parents. But woe to the baby the machine finds defective – it will be immediately destroyed. According to the “scientific” forecast of author Jones, a network of such machines will cover the world of the future.

This tale, monstrous in its openly fascistic tendency, appears in the American magazine Astounding, under the optimistic title of Renaissance. Jones’ fascist revelations are not an isolated instance in American science fiction literature. There are numerous such examples under the brightly colourful covers which enterprising publishers throw on the market in millions of copies. From their pages glares a fearful world, apparently conceived in the sick mind of an insane, a world of nightmare fantasies. Miasma, mental decay, fear of to-day and horror of the future: all these innumerable ills of capitalism are clearly reflected.

In their science fiction delirium, the authors reveal the innermost secret of capitalism. With shameless boldness they bring to the surface what serious literature still tries to present in a veiled form. The lackey of Wall Street, in the livery of a science fiction writer, first of all carries out the main order of his bosses: to persuade the reader of the invulnerability of the capitalist system. The wolf-pack laws, the so-called American Way Of Life, are represented as inevitable for all people on Earth, now and in the future.

No matter to what planet the author carries his heroes, he describes worlds constructed according to the American system. In The Mysterious World by Eando Binder, the bandit Yorin, following the trade of his Chicago colleagues, steals an interplanetary taxi, kidnaps the scientist Tom and the beautiful Della, and takes them to an unknown planet to look for hidden pirate treasure. In a story by Eric Frank Russell, The Secret of Mr. Wiesel, there is an ecstatic description of the adventures of a spy from Mars.

The American science-fantasy, in its unbridled racial propaganda, reaches heights which might have made Goebbels envious. The author of Lilies of Life, Malcolm Jameson, tries to impress on the reader that there is inequality on Venus and that there are inferior and superior races. With the revolting cynicism of a coloniser and a slave owner, he writes: ‘The natives of Venus are lazy, vicious and shameless. The native is a born liar and thief; he shuns work, is indifferent to physical pain and completely incapable of thought.’

The dollar, the gun and the fist function equally well on the most distant planets, even those in the dust of the galaxy. Obeying the order of the Wall Street owners, the writers glorify war as the basis of life and as the natural condition of the planet. In Destiny Times Three, Fritz Leiber Jr. describes a cruel, unending war between two nations who have swallowed all the rest. They are constantly goaded on by the thought that the war must be continued or all previous sacrifices will have been in vain. In The Lights of Mars the author foresees war not only on Earth but also on Mars.

To fortify the propaganda of the imperialist war machine, the ‘science’ fantasts of America unrestrainedly threaten with the atomic bomb monster. Robert Moore Williams in The Incredible Pebbles, describes a future atom bomb factory into which, having made a mysterious leap through time, there wander a moronic little boy with a slingshot. The little boy shoots atom bombs with his slingshot like pebbles. A hooligan with an atomic slingshot – isn’t this the true symbol of modern imperialism?

To distract the mind of the reader from ‘harmful’ thoughts on the origins of social evils, American publishers release a flood of horrifying tales with ‘other side’ themes such as telepathy, reincarnation and failure of memory. The authors of these ‘scientific-fantastic’ works do everything to pervert and stultify their readers. They foretell the total destruction of matter, which is replaced by a concentration of thought-energy. Throwing in a few mathematical theories, the ignoramuses of these American magazines arrive at a belief in the existence of other worlds in the fourth dimension. Thus, in a story by John and Dorothy de Courcy, there appears an immortal corpse out of a grave! In Joseph J. Millard’s The Crystal Invaders, the protagonists are bodiless creatures of ‘concentrated pure energy’ which by feeding on the nervous energy of people arouse in them emotions of fear and hatred.

In huge quantities appears the writing of literary fiends like Richard S. Shaver, consisting of a mixture of mysticism and sadism in the fascist style. In his novels Shaver constantly avers that all the troubles on Earth are caused by an incredibly ancient and learned super-race of Lemurians who once owned the Earth but who have been driven into deep underground caves with all their machines. They operate from these caves with special rays which inspire anti-social thoughts and actions and invite man to suicidal war.

The authors of this arch-reactionary and screamingly shameless mess cannot, however, hide their fear of the future which has seized the entire capitalistic world. Capitalism, which enslaves and exploits men, would much prefer that its factories were worked by uncomplaining automatons. So, to please their bosses, the writers bring forth a whole army of robots who push live workers out of the factories. Characteristic is a story by Eando Binder, Adam Link Saves the World. Adam Link is a robot with a platinum sponge brain superior to a human’s. In a war with monsters arrived from Sirius, he leads herds of bestial and merciless people. In Lester del Rey’s Though Dreamers Die, all humans die out, while on a faraway planet the robots survive and multiply.

In the contemporary bourgeois world, the fruits of the creativeness of inventors and scientists are turned into objects for speculation and robbery or the means of slavery and exploitation. Capitalism has chained inventors to its chariot by its patent laws and forces scientists to do things against humanity. The hero of the modern science fiction story is usually not a scientist but a business man or a gangster who utilises the fruits of other people’s labours. Science, in the opinion of the American business man, is above all else a means of enrichment, crime and tyranny.

Capitalism has no future. Time is working against it. Pessimism shows through all science fiction literature., in spite of a bravado on the part of the authors. The reader is presented with scenes of a world reverting to wilderness and of the destruction of civilisation. The revelations appearing in this delerium of unbridled fantasy, poorly concealed by the label of ‘science’, vividly betray the incurable disease of the capitalistic system. The hacks supplying the fantastic drivel feel this, and try to present the doom of capitalism as that of the world. But all their endeavours are in vain, their nauseating, evil ravings cannot fool the peoples of the world who believe in progress and the bright future of humanity.

Doubling Down With Don Wollheim

Presenting the platypus paperbacks.

I don’t think there are many fans of vintage science fiction who would disagree with me if I suggested that Ace Doubles are among the most desirable paperbacks to collect ever published. However, this is something a non-collector might find a little strange given the Ace Doubles are best described as the platypus of the publishing world. Like the platypus those early Ace Double paperbacks were a weird hybrid that worked better than they had any right to. However it’s that very unusual format which makes them so collectable in many eyes.

As the name implies every Ace Double consists of two separate books (usually novels but not always) bound back to back. This might seem like a strange publishing decision now given it appears to reduce potential revenue but at the time it seemed like a clever solution to a difficult problem. According to Piet Schreuders in his book, Paperbacks, U.S.A., publishers in the US had been unwilling to price their books above 25¢ all through the 30s and 40s. The reasoning behind this being a fear that raising prices any higher than that would encourage the reading public to buy magazines devoted to fiction, few of which were selling for more than 25¢ prior to 1950, than said publishers paperbacks. Don Wollheim, for it was he who was head of editorial staff at Ace Books, neatly sidestepped this concern with his two ‘Complete and Unabridged’ novels for 35¢ scheme. Not only did offering two novels ensure the higher cover price wouldn’t scare off would be purchasers but the implication that the second novel could be had for a mere extra 10¢ surely tempted them instead.

However, much as I’d like to give full credit for this idea to our boy Don it would appear that the idea didn’t originate with him. To quote Piet Schreuders in Paperbacks, U.S.A.:

Throughout the 1940s, many important books were not published in paperback form because they were too long for it to economically feasible to retail them for 25 cents and because breaking them up into several separate volumes was considered impractical. Kurt Enoch solved this problem in 1950, with the introduction of the SIGNET DOUBLE VOLUMES and, three years later, the TRIPLE VOLUMES. The Double Volumes were priced at 35 cents and the Triple Volumes at 50 cents and, to clearly show the reader that he was getting extra value for his extra money , spine texts were printed or three times side-by-side over contrasting backgrounds to symbolize the doubleness or tripleness of the book; sometimes even the serial number was subdivided into, for example, 802A and 802B.

So how similar was the packaging? Well this is the cover of the very first Signet Double.

Knock On Any Door

And this is the cover of the very first Ace Double.

The Grinning Gizmo

Okay, so they don’t look that alike and the Ace artwork is decidedly pulpier in style. But then it would be, wouldn’t it? Don Wollheim wasn’t going to try and muscle in on Signet’s classier patch. No, Don Wollheim was going to do what he knew best and let’s not forget that Don’s editorial career had begun with Cosmic Stories and Stirring Science Stories, two of the pulpiest of the pulp magazines.

Covers not withstanding it’s pretty clear to me that the Ace books borrowed a lot of layout detail from Signet. If you have any doubt about that compare the spine of Signet’s Knock On Any Door with the spine of a 1958 Ace Double featuring Eric Frank Russell I just happen to have laying about.

Spine Comparison

Oh, Don Wollheim you clever scamp.

Now you might be thinking that this is all very well but really, what did the Ace Doubles do other than borrow some layout details from Signet? The core feature, the two different novels in one volume, well that’s clearly unique to Ace, isn’t it? Now if you’ve been thinking anything like that then you are so very wrong. Consider the examples pictured below and their publication dates; Two Complete Detective Books (Winter 1939), Two Daring Love Novels (January 1948); and Two Complete Science-Adventure Books (Winter 1950). Three magazine titles that predated Ace Doubles by years (and the first two even left Kurt Enoch and his Signet Doubles in their dust).

Two Novels

Of course it can be argued that none of those magazines sported two separate covers so that’s one innovation that Don Wollheim can successfully claim. On the other hand take a look at Two Complete Detective Books. How on Earth did Wollheim miss pinching that brilliant idea? Every one of the early Ace Doubles should have had a banner proclaiming ‘$5 value for 35¢‘ somewhere on the cover. You missed a trick there Don my boy.

All is not lost on the innovation front though as according to Piet Schreuders Wollheim did introduce another new idea, at least in regards to the earlier Ace Doubles, in that one book was new and one was a reprint (usually taken from the rival fiction pulps). This helped keep the format profitable as reprints were to be had for less money than brand new stories. And profitable the series surely was given Ace kept issuing titles long after the 25¢ barrier became a thing of the past.

Another money saving tactic was to impose a strict word length on each novel published as an Ace Double. A set length saves on printing costs and perhaps even allows the company to offer authors less money. This also meant that if a manuscript was longer than the space allocated some pruning was done. Yes, at least some of the Ace Doubles have ‘Complete and Unabridged’ printed on the cover but not all do. Indeed, it’s possible that Ace made a point of advertising ‘Complete and Unabridged’ when it was true and then saying nothing when a story had indeed been abridged. Even if not done to intentionally deceive I imagine this encouraged the casual reader to assumed all Ace Books were ‘Complete and Unabridged’. One such example of what could be described as a sin by omission was Bob Tucker’s novel, To the Tombaugh Station. As you can see from the cover below there’s no mention that the book had been trimmed for publication, just that it was the ‘First book publication’.

To the Tombaugh Station

As it happens Tucker detailed the story behind the publication of this story in the second issue of Vic Ryan’s fanzine Bane. I’m going to quote Bob’s explanation here as I find such stories fascinating and assume you do too:

The novel (nearly 60,000 words) was sent to Rinehart last fall, but they rejected it (Rinehart has rejected my last two or three books and broken our contract; apparently I no longer made money for them, and the honorable way to sever a contract is to reject a couple of books). Well. So my agent sent the manuscript around, seeking other likely prospects. Meanwhile, the second copy was making the rounds of the magazine editors. Campbell passed it, Gold declined to read it on technical grounds, and it fell into Bob Mills’ lap. Mills liked the story but couldn’t use anything of that extreme length – he suggested that I boil it down to 20,000 words and try him again. The price he offered was decent, so I did, and he accepted the rewrite. However, it developed that I had over-estimated my word-count, so he cut it again to fit into his space. And that is what you read.

Meanwhile (and here is where I make up for the earlier slight), the first copy was being rejected here and there among the book publishers. However, on June 10, my agent sent a note saying that Ace Books was buying it. I have no additional information yet, but I assume it will be ½ of an Ace double-volume.

Which brings us back to cutting. I am under the impression that Wollheim cuts all his manuscripts to fit that tight “double-volume” space. If so, then fandom won’t see the full-length novel unless they happen to get the British edition, if there is a British edition.

An awful lot of material (and a few names) were dropped from the magazine version – 40, 000 words were thrown away, remember. Most of the background on both the man and the woman were thrown away; almost half a chapter of Abraham Calkins was cut. A good deal more happened on that trip to Pluto, and the larger part of the astronomical stuff was pruned away.

Don Wollheim then replied to Tucker’s comments in Bane #3 and I’m going to quote that too because how often does the average reader get to see the workings of the editorial mind? Not often enough if you ask me:

I enjoyed Tucker’s novel a great deal. It isn’t fast-paced but it has a certain pleasingly handled eye for detail and life which made it very worthwhile, in my opinion. Hence, Ace bought it. It’s going to be a double book, paired with Poul Anderson’s Flandry, but I’ve tried not to have it cut at all – in fact, I gave instructions to cut the hell out of Anderson’s novel if necessary to save Tucker’s. But the damn printer still hollered and sent the copy back, so we had to cut maybe 5, 000 words – but I think the leisure is retained.

Actually, Poul Anderson is a better writer than Tucker, but I only like some of his work, and find a good deal of the rest of his copy annoying and reject-worthy (even when not submitted to me…)

On the other hand, Tucker and I haven’t always gotten along, but I always find his writings pleasingly backwoodsy with a sort of bucolic corn that’s very rare in these sophisticated days.

Now that’s an absolutely fascinating response by Wollheim if you ask me. His claim that Anderson was a better writer than Tucker surprised me at first glance but on reflection I suspect he meant that Anderson was a slicker writer of action than Tucker. Which is the sort of comment I’d expect to see coming from a pulp veteran like Wollheim. I’m sure Don was the sort to agree with the advice his fellow editor, Raymond A. Palmer, often gave to authors whose fiction wasn’t ‘slam-bang’ enough for Palmer’s liking, “When the action slows, throw another body through the skylight.” Ah, pulp editors, not men of subtlety.

Given the above it may seem strange then that Wollheim told his staff to trim Anderson’s novel rather than Tucker’s but that’s the thing about ‘slam-bang’ action, there’s usually more ‘bangs’ than is really necessary to move the plot along so an editor can safely delete a few of the less impressive explosions without spoiling the overall display of fireworks. In comparison both Tucker’s and Wollheim’s comments lead me to suspect that everything in To the Tombaugh Station builds on what has come before which would make it difficult not to leave obvious gaps when editing the story down. In which case it makes sense that Wollheim would be reluctant to trim Tucker’s novel. That would be my guess anyway (based on not having read the story).

Now perhaps it’s just that my cynical nature which caused me to raise an eyebrow when Wollheim blamed what editorial cuts that had been made to Tucker’s novel on an uncooperative printer. Surely once the manuscript was in galley proofs whichever editor has charge of it could tell if was too long for the space allocated? Surely then the cuts were decided on before anything was sent to the printer? I can’t help but suspect Don threw in a little pre-emptive finger-pointing in order to deflect future complaints about whatever his staff had done to the manuscript.

From my point of view the most important point to come out of the above exchange is the admission by Don Wollheim himself that cutting manuscripts marked for publication as half an Ace Double was standard practise. I’ve seen that it happened mentioned elsewhere but without any specific examples given so it’s nice to have one confirmed.

And there you have it, my take on one of the more unusual, and thus highly collectable, lines of science fiction paperbacks to ever be published. How would I sum up my feelings about the Ace Doubles? Let me channel my inner Lewis Carrol.

Double cover story book
How I like the way you look
Your only fault you noble mutt
Are missing words that Ace did cut

London Calling

‘Cause in sleepy London town,
There’s no place for a street fighting man!

Harlan Ellison

Feel free to guess who this is.

So lets start with some background.

The Hugo Award for Best Dramatic Presentation was first presented in 1958. It doesn’t appear to have been an especially popular addition as ‘no award’ topped the list in 1959 and again in 1963. This is perhaps why in 1964, Pacificon II, the worldcon held in Oakland, California added the category of Book Publisher and dropped Dramatic Presentation. The folowing year, Loncon II, the 1965 worldcon held (not surprisingly) in London, England, left the Book Publisher Hugo in place of the Dramatic Presentation Hugo on their nomination ballot. This was possibly done because the Loncon II committee had assumed that the Pacificon II committee had made a formal change to the Hugo categories. It’s also possible that the Loncon II committee felt the Book Publisher category would be of more interest to the largely British membership of the con.

In November 1964 the fiftieth and final issue of Ron Ellik’s newszine, Starspinkle, was mailed out with the Loncon II nomination ballot included. At least one person was not happy to see that…

The following was written by Ron Ellik and appeared in Vair-Iner, a fanzine published by him as part of the going away celebrations being held in honour of the fact that Ellik was about to move to move from LA to Washington). I’ve edited it slightly to remove a few details not relevant to the story but otherwise this is how Ron wrote it:

On the night of the Go Away party, Harlan called me. He had just received the fiftieth, final issue of STARSPINKLE, and he was upset.

“Ron! Harlan! What’s this goddam Hugo nomination ballot I just got? Who sent this out? What happened to the nominating committee? Why didn’t London contact anyone on the study committee? Who do I talk to?” That was about how his part of the conversation went, an all I could do was explain that the London convention committee has decided to ignore the two motions regarding Hugo Award nominations passed at the Oakland business session, and as far as I could tell they were within their legal, if not their apparent, rights. He wanted to complain directly to the London group, and I apologized for not having Ella Parker’s phone no. He assured me he could get it from Information. We said good-bye, and as I came back into the room to tell the assemblage what all that had been, I suddenly realized the time – it was 6:26 pm Sat 7 Nov, Pacific Standard time. By all rights, it should be 3:26 am Sun 8 Nov, Greenwich Mean Time – an hour at which Miss Ella Parker would give Harlan an extremely Mean Time if he woke her.

There are events in the tide of history with which man may not interfere. I sat back into the Brag game, and when I had lost another 17¢, the phone rang.

“Ron! Harlan! I just talked to Ella Parker!”

“At 3:3O am” I asked.

“Yes,” he said, with (I swear it) a touch of quiet apology in his tone, “and I wish I’d thought of that. You know, Ron, she’s an extremely unpleasant woman.” I relayed sections of this to the rest of the group, who were gasping with the exertion of silence amidst their gigantic laughings.

It seems Harlan presented his side of the story, and Ella informed him the London committee had voted on these matters, and elected to continue traditional methods of Hugo nominating– and, further, to drop the drama award., installing the Best Publisher award in its place. Ella, of television sf shows, said, “You know, we don’t see any of those things over here, anyway.” Harlan can be a tremendous mimic, and by this time I, too, was almost vainly attempting to control my laughter.

We are going to do this and that, Harlan had told her, and she informed him she had better things to do than stand around just before dawn and argue this sort of thing. He said something I shall not quote, which he quoted to me, and Ella hung up.

Harlan wanted to publish this outrage in STARSPINKLE, but it is folded; I suggested the Hugo Study Committee (of which he is an appointed member) was the best outlet for him – if he could convince the other two US committeemen to act, they could speak as an official body of some sort of other. He thanked. me, and I went back to tell everyone what they had missed, and then we played cards some more.

When I had lost perhaps half a dollar, Harlan phoned again. He read me a letter. He had talked to two dozen people since his trans-Atlantic call – other Study Committeemen, convention committeemen from past years, etc – and this letter, signed by Harlan, cited these several people as being, each, in at least passive agreement that London should not do this thing. In conclusion, Mr. Ben Jason and the group producing the physical Hugo trophies had agreed with him to withhold the trophies from the London convention.

We eagerly await news of London’s answer.

And there you have it folks, if you want to be a successful squeaky wheel then you need to really apply some of that old-fashioned elbow grease. Ah, I hear you ask, and was Harlan, that tiger of the telephone, a truly successful squeaky wheel? Well, yes. To quote various issue of Ron Bennet’s newszine, Skyrack:

Skyrack #72 (November 1964)

Further to the Hugos there’s a funny story going the rounds at the moment. Following the example of the Pacificon II, the London Worldcon Committee has decided against presenting an award for a dramatic work, such as a film or TV show. It is understood that a certain Committee member recently suffered a three a.m. phone call from an irate writer who stated that he had spent over $300 in publicity for his own dramatic work, who asked how could he possibly win a Hugo for this work if one wasn’t to be presented and who announced that unless this decision was retracted he would not join the convention. I tell you putting on a Worldcon is great fun.

There is incidentally some little discussion going on behind the scenes about the manner of balloting for the Hugo awards and there will possibly be a change in the system employed by future conventions. London is employing the old well-tried system, and had agreed to do so before the storm broke over our heads. Some very sensible comments have been made by both sides in this argument which has happily not degenerated to personalities. Let’s keep it that way.

Skyrack #73 (December 1964)

The last issue ran a story about an author phoning a London WorldCon Committee member in the middle of the night. It is now common knowledge that said author was Harlan Ellison who phoned Ella Parker from New York to complain about the London decision not to award a Hugo for a dramatic presentation. The position has been greatly complicated since then by various fans, Harlan among them, publishing reasons why London should or should not abide by its Committee decision.

Skyrack #79 (May 1965)

The London Worldcon Committee, which originally followed the lead of last year’s Pacificon in dropping the drama award, have bowed before the general feeling prevalent in fandom and have heeded what has been a significant number of write-in nominations regarding this category. The Committee is undoubtedly to be congratulated, not only upon the reversal of its original decision, but upon the admirable manner in which it has conducted itself in the entire matter. Despite obvious provocation from certain sources, the Committee has not responded in kind, resorting to personalities. Well done, London!

However, despite the above Harlan didn’t have it all his own way. Like that 3am phone call it’s also common knowledge that he was trying and win a Hugo for one of the two 1964 episodes of The Outer Limits for which he had provided the script; The Soldier and Demon with a Glass Hand. It was not to be though, despite Ron Ellik himself producing two special issues of Starspinkle to promote Ellison’s work. Instead fandom chose to nominate Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb and The Seven Faces of Dr Lau. In the end it was Dr. Strangelove that received the the rocket in 1965. Harlan had to wait till the following year for Hugo glory. That was when he won the Short Story Hugo for ‘Repent, Harlequin!’ Said the Ticktockman.

I imagine the wait was worth it.