Category Archives: Science Fiction/Fantasy

[November 6, 1960] Take Five (Store of Infinity by Robert Sheckley)

There are few folks who have taken greater advantage of the Silver Age of science fiction (i.e. the Post-War boom and bust of the digests) than Robert Sheckley.  As of last month, the fellow had already published four collections of his works.  The beneficiaries of this production are Bob's pocketbook…and every reader who gets hands on his stuff.  Sheckley's mastery of the science fiction short story, whether straight, humorous, cynical, or downright horrific, is legendary.

Now, Notions: Unlimited, Sheckley's fourth collection, just came out in June.  Moreover, I'd had reason to believe that November would be a month of slim pickings for new fiction.  Imagine my surprise (and delight!) at finding yet another Sheckley collection on sale.

This one, Store of Infinity, may be my favorite of them all.

All of the stories are reprints of magazine stories, and there are no clunkers in the bunch.  Going through in order, we have:

The Prize of Peril (May 1958 Fantasy and Science Fiction): In the near future, the most popular gameshow on television is a live manhunt.  At every turn, the fugitive is pursued not just by would-be killers, but also a camera crew and a vapidly excited host.  Can a contestant survive?  And what price victory?  The theme was recycled for a part of Sheckley's recent novel, The Status Civilization.

The Humours (originally Join Now in December 1958 Galaxy): This rewrite is substantively similar to the original, but the premises are completely different.  In the future, it is possible to transfer parts of one's personality to a perfectly realistic android.  In the original story, this was done to address a labor shortage on Mars and Venus; individuals would split their personalities in three to work on all of the solar system's inhabited planets simultaneously.  In The Humours, the split is therapeutic, a remedy for Multiple Personality Disorder.  Both tales feature the journey of the "original" (at least, the personality piece inhabiting the human body) to reintegrate his brother personas.  A fun ride.

Triplication (May 1959 Playboy): A set of three humorous vignettes, the kind that are usually droll and forgettable.  Sheckley does it better.

The Minimum Man (June 1958 Galaxy): Who is best equipped to investigate a wild planet for colonization?  Not trained mercenaries, not seasoned jungle trekkers, not veteran explorers–for though they may survive the ordeal, their experience will not tell you if your average, civilization-softened settler can handle the place.  No, you want to send the least qualified pioneer possible.  If he can survive, anyone can.  Sounds like a silly premise, but it's really a beautiful story of a clod, his robot, and an untamed world.  Probably my favorite piece of the book.

If the Red Slayer (July 1959 Amazing): When resurrection technology is perfected, what's to keep a soldier from fighting forever in an endless war?  Nothing, apparently.  A bitter story with an ironically light touch; contrast with the jingoistic Dorsai! and Starship Troopers

The Store of the Worlds (September 1959 Playboy): Would you give up ten years of your life and your worldly possessions for a jaunt to an alternate Earth where all of your dreams have come true?  And just what kind of world would you have to have come from to make this trade appealing.  I tell you, Bob Sheckley is reason enough to get a subscription to Heffner's magazine…you read it for the articles, don't you?

The Gun without a Bang (June 1958 Galaxy): A silent weapon may be great for an assassin or a spy, but not so great against dumb animals.  After all, it is the loud report of a rifle as much as anything that scatters the wolfpack.  Still, a bangless gun can have some utility…  The weakest story of the collection, which is to say it gets three stars rather than four or five like the others.

The Deaths of Ben Baxter (July 1957 Galaxy): An excellent multiple-timeline story in which folks from a doomed future attempt to thwart their fate by adjusting the past.  The critical juncture involves the meeting of the same two men in three disparate settings (British, Hindu, and familiar New York).  My second favorite piece. 

4.5 stars.  Pick it up while you can!

[November 3, 1960] With a little help from a friend (Murray Leinster's Men into Space)

Keeping up with all the science fiction releases is virtually impossible for one person.  Luckily, I'm not making this Journey alone.  When it turned out I could only review one of October's books, long-time fan TRX offered his services as a guest contributor.  He chose to cover Murray Leinster's Men into Space, a collection based on the recently completed television show which had garnered a strong fan base (alas, I was not one of them).  Let's see what he's got for us…

Our Gracious Host asked if I might do a guest post about the new Leinster book.  I naturally leapt at the chance.

While it's officially an October release, the book hasn't completely propagated through the publishing supply chains yet.  After a fruitless search through the local stores, I had an idea and called the lady at Big River Books (my favorite store) and gave her the title and author and asked if she could special order it for me.  Sure, not only that, she'd have it drop-shipped to my house to save me a trip to pick it up.  And she'd let me pay for it next time I was in.  I was delighted, but I'm not sure of the wisdom of being able to buy books over the phone with credit…

A plain brown envelope (well, buff is close enough to brown) showed up in due course, containing one (1) newly-printed book.

From the description on the back cover, "Men Into Space" sounds like it might be a "media tie-in", like the novel released after Forbidden Planet hit the theaters a few years ago.  If so, neither of my local stations has picked up the show.  I can only tell you about the book.

"Men Into Space" consists of short stories following the career of Space Force officer Ed McCauley:

As a lieutenant, McCauley makes the first manned rocket flight.

As a captain, McCauley deals with an injured crewman while piloting the first space-plane.

As a major, McCauley deals with a potentially-fatal construction accident while in charge the building of the first space station.

As a colonel, McCauley deals with a murderous personnel problem while overseeing the establishment of a series of radio relays to the moon's far side, then deals with a technical problem aboard a rocket to Venus, and another personnel problem on a Mars mission.

Lots of nuts and bolts details about ballistics, rocket fuels, radiation, the van Allen belts, and so forth.  And with each story, McCauley deals with progressively more complex human problems as he moves up in rank.

If you're starting to smell something odd… yes, this is a juvenile.

It's a *good* juvenile, however.  I was a rocket-head from the time I learned about the Army's missile program after the war, and if I was thirteen years old again I'd be all over this book.  I would have been entertained and instructed at the same time.

The problem is, judging from the cover, it appears to be marketed as a normal science fiction novel, not as a collection of stories appropriate for "Boy's Life."  I think most of the readers here at Galactic Journeys would be quite disappointed… and then they'd find their kids under the blanket reading it by flashlight after bed time.

Men into Space author Murray Leinster made his first sale in 1916.  In the last 44 years he has written a huge number of novels, short stories, and both radio and television scripts.  He has written westerns, mysteries, romance… and lots of science fiction.  He's an old hand who knows his craft back to front, and I expect he wrote exactly what he intended to.  Or what he was contracted for.

I don't know how the book will be marketed to schools and libraries, but the mass-market paperback edition is almost certainly going to be shelved with the rest of the science fiction instead of with the juveniles, and I expect that most purchasers will be in for a shock.  And that's doubly sad, since many of the the youth Leinster wrote for may never come across the book.

In short, Men into Space probably aims too low for the average Galactic Journeyer…but Christmas is coming, and if there are any ten-to-fifteen-year-old readers on your shopping list, they might find the book very enjoyable.

The nicely typewritten review was accompanied by the following note scrawled on a half-sheet of legal pad.

"Reading a book for review" is a very odd thing.  Book reports in school were mostly done to prove I'd actually read the book.  Here, I've tried to describe what the book *is*, not just what happened in it, and to make a guess as to what others here might think of it.  And I only made it a few pages in before I thought "what is this trash and how did it get printed?", and I started composing a scathing review in the back of my mind as I was reading.  I would have put the book down before finishing the first story had I not committed to writing a review.  About halfway through I realized what kind of book I was reading, and then had to stop and reconsider everything I'd read up to that point.  And when I finished and wrote the review, I looked at it again the next day and realized it was ridiculously long and crossed out most of it before retyping it and going to the Post Office.  Murray Leinster might be an old hand, but this sort of thing is new to me!

Experts make the challenging look easy, I guess.  But practice makes perfect, and I'm happy to say that we will likely see TRX again someday!

[Oct. 31, 1960] Looking both ways (October wrap-up, November preview)

As October draws to a close, it is worth taking a pause and reflecting on all the things that did and didn't happen this month before moving on to a preview of November.

In the battle of the digests, The Magazine of Fantasy and Science Fiction came out the clear winner with an aggregate rating of 3.5 stars.  IF was the middle child, with a perfect 3 star score.  Analog took up the rear, at 2.75 stars, despite having a pair of the best stories of the month, largely due to the quackish non-fiction articles. 

But the biggest loser of the month was the fairer sex: not a single woman author is credited in any of the Big Three magazines.  Perhaps they made appearances in one of the few remaining others.

Only two new books came out this month, and I only read one of them: the 2.5 star clunker Starfire.  One of the Journey's most vocal fans (by monicker of TRX), however, has stepped up to the role of occasional contributor, and his review of Murray Leinster's Men into Space will be forthcoming in just a few days.  Welcome to the team!

The visual media have also been something of a bust this month.  The second season of Twilight Zone has been underwhelming, and I didn't particularly like The Flintstones (though I understand I'm in the minority).  I aim at the Stars, the Wehrner von Braun hagiography isn't playing near me, though I did manage to pick up a copy of the comic book adaptation given out to those who saw the film.  I may review it in November. 

There were four televised Presidential debates, on which I dutifully reported.  I understand that Jack Kennedy is drawing tremendous, adulating crowds while Dick Nixon's audiences, albeit similarly sized, are far more restrained.  It's too soon to draw conclusions from this, though.  It may just be a matter of temperament.

In the Space Race, America launched the first active repeating communications satellite, and if you haven't grasped the significance of that event, you might want to read my article on the launch.  But there were a couple of missteps, too.  The first publicaly acknowledged spy sat, SAMOS 1, didn't make it into orbit on October 11.  The probe reportedly would have returned live TV pictures of Soviet installations.  I'm very curious to see if the technology works given the issues the Air Force has had with capsule-recovery spy satellites…I mean biological return satellites.  Speaking of which, Discoverer 16 also suffered a launch failure on October 26.  Not a good month for snooping on the Communists from space.

What can we expect for next month?  A few calls to various publishers have brought me to the conclusion that there will be slim pickings for new books.  Of course, there are the Big Three digests, and the election on November 7.  Other than that, it's wide open.

And so I turn to you, my fans.  To paraphrase Senator Kennedy, the Journey is a great column, but it can be better.  What would you like to see in the month of November?  And by the way, if any of you have a subscription to Amazing or Fantastic or any of the other digests, I'm always keen to enlist more contributors…

Happy Halloween!


(Halloween at Drake University, Iowa, in 1954)

[Oct. 30, 1960] Halloween Candy (the November 1960 Fantasy and Science Fiction)

With Halloween around the corner, one might have thought that there would have been an extra spooky issue of Fantasy and Science Fiction this month.  Nothing doing.  The current issue is nothing extraordinary, if not completely forgettable.  Having covered the end novellette in my last article, it's time to cover the rest of the magazine.

I've never heard of Vance Aandahl before, but his tiny It's a Great Big Wonderful Universe, about a sad Terran who has everything but the planet he hails from, is a good aperitif.  Four stars.

Robert F. Young is up next with his Romance in a Twenty-First Century Used-Car Lot.  It's a weird extrapolation and intersection of two trends: an increased sanction of promiscuity coupled with a perverse need to be armored against the world.  In this story, everybody, but everybody, is expected to wear their own personal automobile at all times.  To go without is to be shunned as a "nudist."  It's all very strange and allegorical, but too silly to be effective.  Once again, it's not up to the standard set by his excellent To Fell a Tree, though I did appreciate that the protagonist was female, and the story's focus on the very real difficulties they face vis. a vis. men and society.  Three stars.

Who dreams of Ivy? is another macabre piece by Will Worthington set in a world marred by institutionalized violence and fear.  I'm afraid I didn't quite get it, or maybe there isn't much to get.  Is there a message to this dark look at election season, where mayors live in constant fear for their lives, and thus take this fear out on their citizens?  I feel as if Sheckley's Ticket to Tranai did it better and more humorously.  Three stars.

Next up is an old old reprint, Funk, by John W. Vandercook.  It's a well-written if somewhat pedestrian tale of dark magic on the steamy coast of West Africa.  What happens when you build a bank vault right square on the spot where the Crocodile God slithers to devour its periodic sacrifices?  Nothing good, I assure you.  The closest we get to a seasonal ghost story.  Three stars.

I did quite enjoy Combat Unit, from newcomer Keith Laumer, in which a damaged but still-sentient robot tank finds itself behind enemy lines.  This is a fine portrayal of metallic, sexless intelligence.  Four stars.

Yes, we have no Ritchard, by Bruce J. Friedman (normally a writer for the slicks), is a cute tale about an usual afterlife situation.  There is a Heaven and a Hell, but no one goes to Heaven, and Hell isn't so bad.  So how does one distinguish the good from the bad?  And what happens to the ego of a good man in such a demoralizing predicament?  Three stars.

Finally, we have Isaac Asimov's latest non-fiction piece, The Element of Perfection.  As one might gather from the title, it's on the discovery of Helium (and, incidentally, the other noble gases).  It's one of my favorite articles from the good doctor–educational and entertaining.  Five stars.

No surprises this month: an F&SF that finishes slightly on the positive side of three stars.  You won't regret the expenditure of 40 cents (quite reasonably, really), but I suspect you won't find yourself returning to this issue very often, either.

Tomorrow, a sneak preview at the month of November!

[Oct. 28, 1960] Point of Inflexion (The Future of Plenty)

Science fiction is not prediction.  It is extrapolation.  No one can see the future, but a gifted writer can show you, dramatically, what will happen "if this goes on." 

It's no surprise that science fiction writing has enjoyed a boom since 1950.  Never has our world been on the brink of so many exciting and dangerous potentialities.  On the positive side: space travel, automation by computers and robots, atomic energy.  On the negative side: pollution, global warming, and atomic annihilation. 

As a species, we stand on the edge of superabundance created by fewer and fewer people.  It used to be that the vast majority of us made our living through subsistence farming.  By the end of World War 2, the percentage of Americans employed in farming of all kinds was down to 14%, and since then, it has declined to about 8%. Over the next few decades, thanks to mechanization, the profession of farmer as we know it may cease to exist.  We can expect the same trend to happen globally as the poorer parts of the world catch up. 

What have we been doing now that we don't have to farm?  Building things.  By the end of the War, Blue-collar workers made up 40.7% of the labor force.  As of 1959, they were down to 37%.  This seems like a small dip, but the decline is consistent.  Automation is getting cheaper every day, and it is pretty certain that the industrial sector will experience the same downturn as the agricultural sector. 

Well, then, what is everyone else doing?  White-collar workers, the professionals, the managers, the clerks, and those in sales, have grown in percentage of the work force from 35% in 1947 to around 42% last year.  Moreover, service workers, both domestic and for-hire, have gone up from 10.4% to 12.2%.  In other words, fewer people are using their hands and their backs to produce things.  More are using their brains to produce…or entertain.

That's a snapshot at this place and time.  What happens "if this goes on?"–when everyone has all the food and goods they need, what will people want?  At what profession will people work?  Will we all take turns serving each other at restaurants (until robo-waiters come into vogue)?  Will we all write sonnets and paint pictures for each other in a sort of round-robin gift economy (until machines write songs and craft art better than we can)?  Will we all become citizen-scientists, pioneering the limits of knowledge (before computers figure out ways to do it better and faster)?  Or will we all ultimately end up loose-mouthed in a torpor watching endless robot-created television programs?

I just reread George Orwell's 1984, a tale of crushed free will in an ultra-totalitarian post-nuclear England.  In his world, the people in power reason that the obstacle to their retention of power is superabundance.  Once everyone has all they need, they reason, class distinctions disappear.  Thus, the Party takes control and diverts all surplus production (and much besides) to the waging of a futile, endless war.  Orwell essentially dodges the question–the road to plenty is nipped in the bud for the sake of a greedy few.

On the other side of the coin, we have Mack Reynolds' Russkies Go Home!, which appeared in this month's (November 1960) Fantasy and Science Fiction.  Mr. Reynolds reportedly just returned from a trip behind the Iron Curtain, which explains the multitude of Russia-related stories he's recently turned out.  Clearly, the trip impressed the writer, as the stories all posit a Soviet Union that fulfills Senator Kennedy's nightmare prophecies by surpassing the United States in prosperity by 1970.

Russkies takes place furthest along of all the stories, chronologically.  While it is never explicitly stated, we can assume it is somewhere around 1990.  The USA is suffering from chronic unemployment since no one will buy our products.  This is because the USSR, forced by USA-led trade embargoes in the 50s and 60s, has become self-sufficient superproducer.  Now they can dump exports on the world market at a fraction of the price of products made in the "Free World."  And dump they do, not because they need imports from other countries, but to obtain foreign currency. 

Because the tourism bug has hit big in the Soviet Union.  No longer penned in by the secret police, and no longer eager to defect the abundance at home, the Communists now have a driving urge to see the world during their overlong work vacations (the Soviets, with their command economy, do not have unemployment, but they do have awfully short work weeks!)


from here

And so, Russian tourists swarm the world, spending freely, drinking heavily, and generally making raucous nuisances of themselves.  This is the new hedonism.  Meanwhile, the Americans want to regain customers for their trade products, but they can't so long as the Soviets are undercutting.  The story's protagonist hits upon the idea of promulgating a religion of moderation, hoping that such will keep the Communists at home and allow the Americans some breathing room to restore trade connections.  And perhaps address their juvenile delinquency problem; unemployed, unmoderated folks have lots of time on their hands to make trouble.

The funny thing is that it seems to work, this command economy religion (generated from scratch with an enormous outlay of government funds).  And the Soviets, far from being upset by this development, ask if they can help–it seems they want to do something about the tens of millions of Chinese tourists they've been dealing with lately…

It's a silly story, and while the first half is rather excellent, the rest is barely an outline.  Moreover, I think Reynolds' fundamental premise, that Communism will somehow surpass Capitalism, is flawed, though I did particularly like his observation that the "Free World" includes places like Spain, Formosa, and Saudi Arabia. 

But that doesn't matter.  The root of the story is our impending superabundance and the potentially devastating consequences for society.  This is a subject I don't see addressed very often, in part because it's just so damned hard to guess what the world will look like after the labor sector transformation is complete.  It is coming, though, and it's probably best we work out how we're going to deal with it sooner rather than later. 

In short, what will we do when there's nothing we need to do?

[Oct. 25, 1960] Great Expectations (the second season of The Twilight Zone

When does the New Year start?

Your first instinct might be to say "January 1, of course!"  But that's simply the beginning of the calendar year.  Think of all the other days that kick off the next 365-year cycle.  For Jews, New Year is in September.  If you run a company, your fiscal year has a good chance of not matching the calendar.

And if you're a student, a football fan…or a television viewer, you know viscerally that the New Year starts right after Labor Day.

Last TV year, writer/producer Rod Serling stunned his audiences with the exciting new anthology show The Twilight Zone.  Featuring half-hour episodes with science fiction/fantasy/horror themes, it was some of the best material the small screen had to offer.

It's no surprise that Twilight Zone was renewed for 1960-61, but can the new season match the expectations set by the first?

So far, the answer is… no.  Let me go through the four episodes that have come out thus far, and then I'll discuss the common elements that have been their undoing.

First up is King Nine will not Return, about a World War II bomber pilot who wakes up in the wreck of his plane stranded somewhere in North Africa.  The rest of his crew is gone, and his memory only gradually returns.  A nice hook, but it goes nowhere.  For 20 minutes, we get to watch the Captain laugh, cry, gibber, and run around.  Then he wakes up in a hospital, and it turns out it was all a battle-fatigue induced nightmare.  Except that his shoes are full of desert sand.

Then we have The Man in the Bottle, a prosaic little genie-grants-wishes story.  This episode is particularly maddening as the plot relies on the utter stupidity of the wishers (the genie, despite his rather sinister demeanor, is quite generous as genies go).  Granted four wishes, a near-bankrupt antique storekeeper and his wife wish: 1) That their display case glass be mended, 2) That they get a million dollars, 3) That they be unimpeachable rulers of a contemporary nation, 4) and (when #3 doesn't work out), that they be restored to their former state.

The catch to their windfall of cash is the Internal Revenue Service, which claims most of the income.  Since (in a nice bit) the generous storekeepers give away about $60,000 right away, after taxes they are left with just $5.  As for the gratification of wish #3, you just knew the storekeeper was going to end up as Adolf Hitler on April 30, 1945.  And after #4, the storekeeper breaks the display case repaired by wish #1.  A complete reset.

Except, of course, that his neighborhood is $60,000 richer!  This isn't touched upon, and it is a shame.  I would have liked to see the storekeepers' community, now aflush with funds and overflowing with gratitude, helping to make their shop a success. 

Or, you know, for the storekeepers to make better wishes in the first place.

Nervous Man in a Four Dollar Room

A two-bit hood spends the episode in a dingy hotel room literally wrestling with himself after being given his first murder contract.  In the end, his suppressed nobler self takes control and turns away from a life of crime. 

And is subsequently gunned down by the mob.  Ah, my mistake.  That didn't happen, or at least, it was not shown in the episode.  It's a logical conclusion, however.

I actually probably enjoyed this episode the most, but that's not to say it was good; merely that it was not horrible.  Joe Mantell turned in a pretty good performance as the pathetic "Jackie."

Finally, we have A Thing about Machines, which my daughter and I were able to preview before it airs this Friday (in three days).  A martinet of a writer in a palatial estate finds fault with all of his mechanical devices: his television, his radio, his typewriter, his phone.  So they all plot their revenge.  The typewriter composes an eviction notice (somehow, the thing magically replenishes its paper store).  The television and phone harangue him.  His electric shaver slithers after him like a snake.  Ultimately, his car chases him into a swimming pool, where he dies of a heart attack.  The acting, cinematography and music are fine.  Shame about the story.

My daughter told me recently, "Last season, Twilight Zone was creepy with a twist.  Now it's just creepy."  She's right.  Each story starts with a premise and then goes nowhere, developmentally speaking.  We're back to that padded middle, crazy fellow screaming pattern that dogged the worst episodes of the first season. 

What's the common element?  Rod Serling wrote them all.

In fact, Rod Serling, who previously only showed up in the previews for next episodes now walks onto the set at the beginning of every story.  I don't mind when Hitchcock does it, but it rather breaks the flow in this show.  As for the quality of writing, the stories Serling provided last season were among the weaker entries, and he's no better this season.  I have a great deal of admiration for Serling as a producer and a raconteur, but he's got to let other folks contribute some screenplays.

Perhaps I'm being overly harsh.  It may well be that Serling is writing under strict budgetary guidelines, which limits his sets and number of actors (not to mention hiring out guest writers).  Between Serling and his restrictions, I don't know that the show will survive the year.

On the other hand, next week's episode is by Charles Beaumont.  That bodes well.

See you in two days with this month's Fantasy and Science Fiction!

[Oct. 20, 1960] Fiction > Non-fiction… sometimes (the November 1960 Analog)

Each month, I lament what's become of the magazine that John Campbell built.  Analog's slow decline has been marked by the editor's increased erratic and pseudo-scientific boosting behavior.  Well, I just don't have the heart to kick a dog today, and besides, the fiction is pretty good in this month's (November 1960) issue.  So let's get right to it, shall we?

"Mark Phillips" (Randall Garrett and Laurence M. Janifer) have a new four-part serial in their Malone series.  Set in the 1970s, the series details the adventures of a couple of federal agents, who are helped in their cases by a telepath who believes herself (and may actually be) Queen Elizabeth I.  I won't spoil the details of this one, Occasion for Disaster, but I've liked the previous novels, so I suspect Occasion will also be pleasant reading.

Heading off the magazine's short stories is a fun piece by Theodore L. Thomas, half of the pseudonymous duo that previously brought us a fascinating study into the world of copyright, The Professional TouchCrackpot continues in that vein, featuring a brilliant old scientist (Prof. Singlestone… get it?!) who convinces the world that he's gone senile.  His aim?  To make his work so disreputable that no government agency will want it, so that no university will employ him, so that he can for the first time in his life enjoy working as a truly free agent.  So that when his invention proves to be utterly unignorable, he will be the master of its fate.  Cute stuff.  Three stars.

Next up is E.C. Tubb's The Piebald Horse.  It starts out well enough with a Terran spy trying to escape a repressive alien world with his brain full of sensitive knowledge.  The jig seems up for him when the aliens employ telepaths as mind-screen agents, but they are foiled when the protagonist pickles himself continuously until he can depart the planet.  I'm pretty sure I just saw this tactic in Fred Pohl's Drunkard's Walk.  2 stars.

These two stories are followed by a pair of execrable "non-fiction" articles.  Captain, MSC, US Navy H.C. Dudley, PhD (he must be authoritative–look at all the titles!) has the first: The Electric Field Rocket.  He maintains that the Earth's electrostatic field can be used to assist rocket launches; he implies that the Soviet's lead in the Space Race is attributable to their taking advantage of said phenomenon.  Not only is the article unreadable, but I suspect the science is bunk.  Time will tell.  1 star.

Speaking of which, Editor Campbell contributes the second article: Instrumentation for the Dean Drive.  I'm not even going to dignify with a review this next piece in an endless series on Dean's magical inertialess engine.  He needs to knock it off already.  1 star.

Blessedly, the rest of the issue is quite good.  The reliable Hal Clement is back with Sunspot, an exciting, if highly technical, account of a group of spacemen who ride a comet around the Sun.  What better shielding exists for a close encounter with a star than billions of cubic tons of ice?  Four stars.

At last, we come to H. Beam Piper's Oomphel in the Sky.  The set-up is great: a Terran colony world in a binary star system courts disaster when the planet makes a close approach to the usually far-away sun.  This triggers unrest amongst the natives, threatening Terran and native interests alike.  I'm an unabashed fan of Piper, and this is a good tale, although he does get a little patronizing toward the do-gooder but ineffective Terran government.  I like the strong anthropological bent, and I appreciate the respect with which he treats the natives and their interests.  Four stars.

In sum, the November 1960 Analog (I almost typed "Astounding") is quite decent, fiction-wise.  Campbell needs to do what Galaxy's Gold has done and hire a ghost editor, and a real non-fiction author.  I can't believe there isn't another budding Asimov or Ley out there champing at the bit to be published…

The fourth and last Kennedy/Nixon debate is tomorrow night!  I hope you'll all watch it with me, but if you can't bring yourself to sit through another hour of sparring, I'll give you the full details the following day.

[Oct. 17, 1960] Aiming Low (Robert Buckner's Starfire)

Is dumbed-down science fiction a gateway or an embarrassment?

I commonly hear the complaint that our genre, namely science fiction and fantasy, is not taken seriously.  Despite the contributions of such luminaries as Ted Sturgeon, Zenna Henderson, Isaac Asimov, Robert Heinlein, etc., our field is generally considered to comprise purely low-brow fare.

Is it really a surprise?  When is the last time you watched an accurate science fiction movie?  How often do lurid pictures of steel-brassiere clad women grace the covers of our magazines, regardless of the content therein?  How distinguishable are these covers from those of the comic books?

Things are getting better, I think.  The number of science fiction magazines has dwindled to a manageable half-dozen or so, and in a sort of literary Darwinism, their stories are of superior caliber (generally).  Every month, several genre books are published; some of them really push the envelope both in writing and subject matter.

Which is why it's disappointing when I come across a throwback like Robert Buckner's Starfire, published this month by "Permabook."

The cover should have been warning enough.  The blurb advertises, "The Hilarious Exploits of a Bashful Scientist and a Creature Gorgeous Enough to Send any Man into Orbit," and the mostly naked redhead in the astronaut's arms is classic pulp cheesecake.  Still, there isn't much coming out this month, and I needed something to read on the flight to Seattle last week. 

At a bare 139 pages of big print, it didn't last half the journey.  Apparently, the book originally appeared as a serial for the Saturday Evening Post, which explains its vapid, layman-friendly style.

Giving credit where credit is due, the first forty pages are actually pretty good.  We are acquainted with a spaceman, Charlie, his orbital mission in progress.  He's in some kind of capsule, and this is a test flight for a trip around the moon.  There is a good deal of exposition explaining the basics of spacecraft mechanics and recovery, no doubt to catch up the uninitiated general reader.  Only after the mission is complete do we learn that Charlie is a chimpanzee, and that the ape was "man-rating" the spacecraft.  It was a nice touch, and had the story ended there, it would have made a fine novella for a science fiction digest… oh, about ten years ago.

But then the story continues.  The protagonist is Captain Richmond Talbot, the chimp's handler.  A pleasant, unprepossesing type, he is shanghaied into piloting the next flight of the spaceship: a Moon mission scheduled just five days hence!  Talbot is to be given no training.  He has trouble with airsickness.  He doesn't want to go.  Hilarious, right?

Talbot does manage to secure a few days leave to visit his family.  On the way there, he encounters Lyrae, a beautiful young redhead with truly alien manners: she doesn't wear make-up, pluck her eyebrows, or wear a bra (steel or otherwise)!  Oh, and she does speak with a slight accent.  She attempts to warn Talbot that his flight will be fatal unless he wears a special helmet and coats the rocket with rubidium alloy.  This is corroborated externally; after returning from space, it turns out that Charlie's exposure to "proton radiation" has driven him insane.  Hijinks ensue when Talbot assumes Lyrae is a Russian spy and the FBI gets involved.  For a while, Talbot becomes a virtual prisoner of the G-Men during their investigation.

Of course, it turns out Lyrae really is an alien (and all those flying saucers and cigars?  Those are real aliens, too).  The FBI agents are no match for the girl, who turns out to be telepathic and something of a teleport.  She frees Talbot, and they run away together in a race against time to fix the rocket before liftoff.  Along the way, Talbot falls in love with Lyrae, of course.  This turns out to be a bit of a foregone conclusion; prescience is also one of Lyrae's many talents, and she's known since the start that Talbot is her future husband.  Hence why she is so keen on seeing him make his Moon trip successfully.

Everything ends well.  Talbot gets his helmet and his fixed-up rocket.  On his way to the Moon, he is intercepted by Lyrae and whisked off to interstellar parts unknown.  Finis.

Now, I don't want you to get the impression that the book is unmitigatedly awful.  It's not.  It's a bit brainless, and it aims quite a bit lower than those of us in the F&SF crowd (or even the Analog crowd) prefer.  But I like the satirical brush with which Buckner paints the book's politicians and officers, and the beginning was solid.  All in all, Starfire is rather well-written and diverting, even if it doesn't do our genre much credit.  Could it be a gateway book?  Perhaps.  I'd certainly classify it as a juvenile if it hadn't been written for a general adult audience. 

What does that tell you about the general adult audience?

2.5 stars out of 5 (mediocre).

[Oct. 2, 1960] Second-rate fun (November 1960 IF Science Fiction)

Galaxy's little sister, IF Science Fiction has settled into a predictable format.  Filled with a number of "B" authors, mostly neophytes, it generally leads with a decent novelette, and the rest of the stories are two and three-star affairs.  I don't think the blame can be put on IF's shadow editor, Fred Pohl (Horace Gold is all but retired these days, I understand).  Rather, this is about the best quality one can expect for a penny a word. 

That said, the stories in IF are rarely offensively bad, and perhaps some day, one of these novices learning the ropes of writing in the minor leagues will surprise us with a masterpiece.

Preamble out of the way, let's take a look at the November 1960 issue:

Jim Harmon is actually quite the veteran, and he has a knack for interesting, off-beat writing.  His novelette, Mindsnake, depicts a future where interstellar teleportation is possible, but fraught with risk.  Only the Companions, colloquially known (and disparaged) as Witches, can keep a traveller's mind intact over the long journey.  Good stuff, and original.  Four stars.

Then we have the short Superjoemulloy by unknown Scott F. Grenville.  How can the most powerful man challenge himself?  By creating a superior version of himself, of course.  Three stars.

Now, I was a bit dismayed to find Daniel Keyes in the Table of Contents.  Whenever I see a "big name" in IF (and there is no question that Keyes is a big name: he won the Hugo this year for Flowers for Algernon), the story is usually a second-rater.  Sure enough, The Quality of Mercy, which clunkily mixes sentient computers with organ transplants and mandated euthanasia, is a bit of a talky mess.  Two stars.

R.A. Lafferty is a fellow who may surprise us some day.  He seems to be enjoying an upward trajectory with his stories, not just in quality but in venue.  McGonigal's Worm, in which every animal on Earth loses the ability to breed, is sort of a poor man's Brain Wave.  Read it, and you'll see what I mean.  Three stars.

Esidarap ot Pirt Dnuor is an engaging little tale of tourism in a rather backward place, brought to us by Lloyd Biggle, Jr, who spends much of his time appearing in Fantastic.  I liked it, but I'm afraid I didn't get the final joke–an Un-Prize to anyone who can explain it to me.  Three stars.

I was gratified to find that, per his book review column, Fred Pohl liked much the same stories in Aldiss' Galaxies like Grains of Sand as I did.  On the other hand, he liked Dickson's Dorsai! far more than me.  Perhaps the novelization (titled The Genetic General) is better than the serial.

William Stuart is back with another well-written story that doesn't quite hit the mark.  Don't think about it is a low-grade F&SF-style tale that takes too long to get to its kicker, and whose kicker lacks kick.  Three stars.

That brings us to Frank Herbert's Egg and Ashes, told from the point of view of a charming if horrifying little symbiote (parasite?) I felt like the beginning was better than the ending, but I do like the way Herbert turns a phrase.  Three stars.

The issue ends with The Impersonator, the third story ever published by Robert Wicks.  In the midling future, the Earth is threatened by an impending Ice Age thanks to humanity's rapacious exploitation of the planet's resources.  A host of outrageous plans are developed to fix the problem: from salting ice fields with carbon dust, to altering the axial tilt of the planet, to tapping the heat from the Earth's core.  It's not a great story, but I liked Wicks' satirical presentation of "doubling down" in an attempt to thwart catastrophe.  Three stars.

As you can see, this isn't the best crop of stories.  On the other hand, minor league games draw crowds, too.  And the tickets are cheaper….

[Sep. 24, 1960] Mood for a Day (Roger Corman's House of Usher)

We are pleased to present noted scholar Rosemary Benton's thoughts on Roger Corman's House of Usher, the cinemafication of Poe's classic about a cursed family doomed to madness through the ages.  Special kudos must be awarded since Ms.  Benton lives in rural New England, where the movie houses are not all air conditioned…

It's been a particularly hot summer this year, but a deep love of movies compelled me to visit my local theater nonetheless.  This time it was to enjoy a film that has been making quite a stir since it's release in June: House of Usher

Buzz about the movie claims that it was shot in only 15 days, and apparently a forest fire in the Hollywood Hills served as the perfect filming location for the opening shots of the movie.  On the one hand, I had to wonder how good a film that was shot in such a rush could possibly be.  On the other hand, Roger Corman's dedication to effect can hardly be questioned when he drags his crew out into the ruin of a forest fire all for the glory of atmosphere.  And with the positive reception that another of Mr.  Corman's recent pictures has been getting, The Little Shop of Horrors, I couldn't justify missing out on an opportunity to see some more of his work. 

What atmosphere there is in House of Usher.  Silence is allowed at times, just to hear the creaking of the house in the dead of night.  When music does occur strains of the orchestra's violin section and the hypnotic vocals utilized in the film's peaks make for a memorable score by veteran composer, Les Baxter.  Music, or lack thereof, is key to what makes House of Usher so very creepy.  The vocals are employed to great effect about half an hour into the movie when our protagonist wanders into the mansion's chapel.  It comes as a great relief that soothes the fear the audience was experiencing just moments before.  Here is a place that, in the honeycombed labyrinth of the Usher mansion, offers comfort and protection.  Then, with a cascade of violins, the scene transforms into a shock that the audience didn't predict.  It's a turn that, in lesser films, would have been achieved only by a shot of the shocked face of the actor, followed by a quick cut to the object of the shock.  Or perhaps a panning shot would shows the audience what the actor will be scared by moments before they themselves see it.  In House of Usher the visuals, acting, and music all unite in many memorable moments throughout the film. 

There is a distinct lack of exposition which I found to be very refreshing.  The audience is allowed to draw their own conclusion on the mental states of characters, and are left on the edge of their seats wondering what twists and turns will come next.  This kind of horror film could not be more anticipated given the many low grade double feature horror movies, sequels, and franchises of recent years.  This glut of horror movies has shown a strain on the formula that made the careers of Bella Lugosi and Boris Karloff. 

Headlining actor Vincent Price's telltale drawl, soft line delivery and affected mannerisms have type-cast him to such a point that nearly his entire early career has been built upon television spots as villainous rogues.  The characters he portrayed for many years were sadly only as deep as a few establishing shots allowed.  There is a renaissance afoot in Mr.  Price's career, however.  Oddly enough, this maturation was brought on by a satirical horror film with the most ridiculous premise.  The Tingler showed Mr.  Price playing a morally ambiguous mortician/scientist who wavered on a thin line between antagonist and antihero, someone goofy yet menacing.  Now, as the titular master of the Usher household, he has been given the freedom to waver between madman and protector, a person who believes so profoundly in the existence of evil that he is willing to stamp it out even at the cost of his own life and the family line.  It is my firm belief that actors like him, with directors like Richard Corman, will carry horror films on to something greater.