[October 12, 1969] My country, right or… (November 1969 Galaxy)

photo of a man with glasses and curly, long, brown hair, and a beard and mustache
by Gideon Marcus

Justice delayed

The new Supreme Court, whose prime continuity to the old one is the preservation of the name "Warren" in its Chief Justice, is now in session—minus one Justice…for now.

Warren Burger has taken over from Earl Warren, and one can already feel the rightward lurch of our nation's highest judiciary.  Now, President Richard Milhouse Nixon plans to careen the Supreme Court in an even more conservative direction.

Tricky Dick's nomination to fill the seat left when LBJ's nominee, Abe Fortas, didn't get the job, is Clement F. Haynsworth.  Haynsworth is currently a United States circuit judge of the United States Court of Appeals for the Fourth Circuit (Atlantic coast of the Upper South), a position he has held since being appointed their by Ike in 1957.  The Senate Judiciary Committee on October 9th approved 10-7 the consideration of Justice Haynsworth.

The road ahead is far from clement for Haynsworth, however.  For one, he bought 1000 shares of Brunswick (the bowling company) just before publishing a ruling he helped make on said company.  After the heightened scrutiny on ethics that accompanied the Fortas nomination, Haynsworth is under an intense microscope.  Labor groups maintained that he should have recused himself from a case involving a textile mill; he owned shares of a company that did business with the mill.

Critics of the storm say this is just tit for tat after the Fortas fight, rather than for any substantive reason.  What's really at stake is Haynsworth is a reactionary.  He affirmed the decision by local authorities to close the Prince Edward County schools to avoid integration, he upheld the constitutionality of school voucher programs used to fund segregated private schools, and he supported the management of the Darlington Manufacturing Company in South Carolina when it closed down to avoid its employees unionizing.

Will Haynsworth make it on the bench?  It's hard to imagine he will.  If a Republican minority was sufficient to deny Fortas a seat, then a Democratic majority will surely roadblock Haynsworth.  If and when this happens, the question is whether Nixon will double down or conciliate.  At stake this season are decisions on the tax exempt status of churches, the death penalty, punitive drafting of war protesters, and the rights of Black Americans.

Stay tuned…

Entertainment delayed

Just as we're playing the waiting game to see the direction jurisprudence goes in America, so the latest issue of Galaxy science fiction makes it clear that the future of SF, particularly in the pages of the former queen of the genre, is as yet uncertain.


by Jack Gaughan (as are, presumably, all of the other illustrations in this magazine)

Continue reading [October 12, 1969] My country, right or… (November 1969 Galaxy)

[October 10, 1969] Everybody's Talkin' At Me: Midnight Cowboy and Urban Tragedy

Science Fiction Theater Episode #7

Tonight (Oct. 10), tune in at 7pm (Pacific) to see what terrific, sciencefictional goodie the Traveler has got in store for you. A hint: it was made by a real Pal…

 



by Jason Sacks

My friends know I'm a big fan of the emerging "New Hollywood" films which has been mushrooming over the last few years. The new film Midnight Cowboy is an outstanding exemplar of that movement, and I'd like to tell you why this film is so great — and why this film movement is so exciting.

"New Hollywood" has emerged as a term over the last few years for a specific type of film. Coming out of the dual filmic earthquakes of the end of the hated Hays Code and the crumbling of the studio system, New Hollywood films are differentated from their more traditional studio counterparts for a few reasons: New Hollywood films tend to prpesent a narrative focus on the lives of ordinary people, tend to use location shooting to heighten their reality, and tend to present an anti-establishment view of the world.

You might remeber the article from late 1967 by influential Time critic Steven Kanfer which praised that year's Bonnie and Clyde as "a watershed picture, the kind that signals a new style, a new trend."  Kanfer continued, "The most important fact about the screen in 1967 is that Hollywood has at long last become part of what the French film journal Cahiers du Cinema calls 'the furious springtime of world cinema."" That "new trend" has evolved into the New Hollywood movement.

Bonnie and Clyde was the cover story in Time in late 1967, with an accompanying article which described a new cinema which was evolving quickly.

In fact, Bonnie and Clyde was a kind of  siren song of this movement — though other bold new films preceded it (notably the work of John Cassavettes and Robert Downey), this was the first sophisticated feature film which really broke through and really embraced youth culture (to be sure, the films of Roger Corman, among others, embraced youthful rebellion but never with the panache or breakthrough success of Bonnie and Clyde). It also helps that Clyde is also a damn good – and very funny – film.

Since '67, we've seen a plethora of remarkable new films which fall into this new trend, including The GraduateTargetsHead, the outrageous Putney Swope and the terrifying Night of the Living Dead. Last year's Rosemary's Baby can be called a New Hollywood film. And of course, the most ubiquitous film of 1969 is Easy Rider, a film which seems to be on the lips of everybody under the age of 25. Each of those movies seems to represent a new approach to filmmaking and even to narrative. Head is shockingly surreal. Easy Rider uses innovative editing techniques. Rosemary's Baby explicity satirizes the patriarchy. And Targets literalizes the generation gap between traditional and modern entertainment – and finds terror on both sides.

This new filmic philosophy is an explicit rejection of the dictates of the Hays Code and of the overtly conformist morality of the 1950s. The newer generation of filmmakers feel the freedom to delve into subjects which previously would have been explicitly off-limits. And that makes the film-goers’ life thrilling as we move into a new decade.

Now we get Midnight Cowboy, a film which elevates the New American school, throwing down a new gauntlet for realism, for tragedy and comedy, and for character. I went into this film with high expectations due to strong reviews from critics I appreciate. But it's funny—  Midnight Cowboy both was a lot like what I was expecting and a profoundly different experience.

I was expecting a sad, smart, outsiderly story of two desperate and pathetic souls living on the edge of gay hustler culture in a version of New York that seems teetering on the edge of malaise but hasn't quite tipped over the edge. I was expecting great performances from leads Dustin Hoffman and Jon Voight, a deep portrayal of what it means to be an outsider in a world that just doesn't care about you, and to see an interesting portrait of a New York suspended between outsider culture and Nixon's silent majority, desperate to flee an urban wasteland.

I got all that, and Midnight Cowboy was poweful as expected; moving and thoughtful and crazily weird at times and often plotless seeming and a particularly intense movie experience.

But I also got a lot of stuff I didn't expect. The first maybe half hour of the film lingers on Voight playing Joe Buck as Buck slowly ambles out of his small Texas town to begin the journey to New York City. That segment of the film takes its time, with long, languid but suffocating shots which make the town feel claustrophobic. His old home town is poised on the edge of an all-encompassing landscape but the human space in that landscape is proscribed.

And yet, and yet: people are friendly; they smile and greet each other and seem to welcome the company of others. The Southwest might be desolate, but the human capacity there seems strong.

So Buck leaves town, but we see elliptical, dreamlike flashbacks which reveal Joe's past life, his obsessions, and his deep sadness. Some of those dreams are representational, some are allusional, but they all take the film to a different level, an unexpected level which sets Midnight Cowboy clearly in that same milieu of modern angst as Bonnie and Clyde, The Wild Bunch and Easy Rider.

Buck isn't just leaving Texas because the big city is beckoning him. He has a traumatic secret connected to his old home town, something which truly tortures him emotionally and pushes him to jump on a Greyhound for the long, lonely journey to the big city.

All the while, the film's now-ubiquitous (in the film and on our radios) theme song keeps playing, illustrating Buck's inner life. True freedom, Nilsson is singing is inside our own heads:

Everybody's talking at me
I don't hear a word they're saying
Only the echoes of my mind

Buck lands in New York, and as you can see from that evocative still posted above, he literally towers above all the people around him. Joe Buck is a big man, with big dreams.

In a more traditional movie, Buck would aspire to be an actor, or strike it rich on Wall Street, or hobnob with the rich and famous. But those dreams would be unrealistic for a man of Joe Buck's means.

Instead. those big dreams lead him to a life where he tries to make some cash by hustling, offering sexual favors to older women who find his cowboy personality a massive turn-on. Joe seems to like the life for a while, as he tries it on, but he has no idea how to actually live such a life, and he ends up living on or near the streets. Desperate for cash, Buck falls in with a loose amalgamation of hookers, hustlers and runaways who inhabit the alleyways and avenues of a fading New York City.

it is in this world that Midnight Cowboy confronts its most surprising element and the aspect of the film which moves it away most from the era of 1950s morality. The Hays Code explicitly forbade even a glancing mention of homosexuality (which didn’t prevent clever filmmakers from depicting homosexual characters onscreen, albeit using winks and nods to the audience). But here gay culture is explicitly shown onscreen, with even a touch of respect and affection for the kinds of struggles Buck has to go through. In the wake of July’s riots around New York’s Stonewall Tavern, this depiction of homosexuality couldn’t feel more contemporary.

Director John Schlesinger tells Buck’s story with angst and grace, but also with a remarkable amount of humor which keeps the proceedings from getting too heavy.

While hustling men and women, Joe Buck meets Hoffman, who plays the unforgettable Ratso Rizzo, a man of pure id and ansgt, a TB-ridden conman who takes Buck under his broken wing and shares an apartment in an abandoned, desolate tenement which seems like it's been waiting for a Robert Moses wrecking ball for decades.

Dustin Hoffman is absolutely astonishing as the motormouthed, self-delusional Rizzo, a man who both seems unique in film history and utterly familiar. Rizzo is every New Yorker who talks nonstop, with an accent and an attitude which embodies his city. But Rizzo has a beguiling tenderness and prickliness, a sort of personal pride and complex inner life that causes the character to pop off the screen.

Rizzo couldn't be further away from Hoffman's character in The Graduate, Ben Braddock. But just as Hoffman seemed to embody our generation of aimless, privileged young men in the earlier film, here he embodies an aimless man utterly without privilege or power, a man swallowed up by the desolate New York streets and his own disease. And where Ben Braddock is driven by a sex drive stuck on his odd relationship with Mrs Robinson, here Hoffman’s Rizzo seems completely uninterested in sex, even bemused by Buck’s bizarre life which centers around sex.

That odd state of bemusement gives a lot of energy to this film. The fast-talking Ratso can’t help but babble in and on about how strange Buck’s life is. It’s as if Rizzo  simply doesn’t understand why people need to have sex and why they make decisions based in that sex drive. And yet, he grows a deep fraternal love for Buck.

it’s often hilarious, often heartbreaking how tight the bond is between these two men who are so very different from each other.

At the heart of the film is the deep friendship between Buck and Rizzo, a frankly shocking level of intimacy these men develop for each other. This relationship inspires empathy in viewers, too, so that when this movie reaches its inevitable ending, we are left adrift like the movie's characters are.

So yeah, Midnight Cowboy is kind of a tragedy, and the ending left people in my theatre sobbing, and it earns its X rating with its story of hustlers and unsensationalized view of sex and its general feeling of grime.

But still: this movie is not a bummer. It's not a bad acid trip. There are many moments which illuminated life with empathy and intelligence and humor. Heck, in fact, the acid trip in this film (at a place similar to Andy Warhol's famous Factory) is a lot of fun as well as a brilliant conceptual counterweight to the rest of the story: some hustlers were able to find kinship and a sense of family with freaks like themselves. And for others a glimpse into that life helps deliver a small sense of grace.

Brit John Schlesinger came over to America to direct this film, and it's easy to sense his comfort in every scene. Best known for his 1965 film Darling, which introduced Julie Christie to worldwide audiences as a headstrong girl in swinging London, Schlesinger seems to be attracted to stories about people who can't quite find their footing in society but remain resolutely themselves: Bathsheba Everdene in Far from the Madding Crowd and Billy in Billy Liar are rebels without a clue.

But Schlesinger has never helmed a film like Midnight Cowboy, which seems to reject the very concept of a middle-class life, which seems devoted to its New York-in-decline setting and that city’s bottomless underclass of weirdos, drug addicts and hustlers. Adam Holender's cinematography adds to the beautiful despair, a lovely widescreen tragedy of urban decay.

Ultimately, Midnight Cowboy is suffused with the dream of freedom, which comes into conflict with the deep ennui of our late '60s reality.  We're living in the shadows of the tragedies of '68 and the dimming of the post-War consensus. Yeah, director Schlesinger seems to say, you can be free, you can live outside the law, but the gravity of middle-class normative Americana will always pull you either into death or into conformance no matter how hard you try to resist.  The deeply moving ending of this film reinforces that sense that it’s unbelievably hard to stay an outsider in our modern world, that the lessons of ‘68 show the optimism of ‘67 has given way to a massive societal bummer.

Midnight Cowboy is a remarkable film which represents the great promise of the New Hollywood movement: John Schlesinger’s film is explicitly in dialog with our current era. Yeah, everybody’s talkin’ at us, but we don’t hear a word they’re saying’.

5 stars.

 






[October 8, 1969] Suddenly . . . (November 1969 Amazing))


by John Boston

. . . Amazing has become a normal science fiction magazine. (Stop snickering.) It’s been moving in that direction, but this November issue’s editorial says: “Beginning this issue, our old policy of reprints has been thrown out the window. . . . We will be publishing one, and only one classic story in each issue, and it will be a bonus to the fully new contents of the magazine.” Or, as the cover blurb puts it, “ALL NEW STORIES plus a Famous Classic.”


by Johnny Bruck

That phrase may seem oxymoronic, but here’s how editor White figures it: the magazine, with its new, smaller typefaces allowing more wordage, now contains about 70,000 words of new material, plus another 15,000 words, making a total per issue greater than any of the other SF magazines and allowing him to call the remaining reprints bonuses. Thus the booster’s reach exceeds the mathematician’s grasp, but I’m not complaining.

Promotion aside, congratulations to White for finally prying publisher Sol Cohen loose from his prolonged insistence on filling as much as half the magazine with reprints of (euphemistically) uneven quality. White says he “cannot truly say it was a result of my actions alone”—presumably meaning Cohen had been softened up by the complaints of his predecessors—but good for him for finally getting it done.

So what we have here are one quite long serial installment, a novelet, and two short stories, plus a reprinted short story from 1942, all new, as well as the usual complement of features. As promised last month, there is a science article by Greg Benford and David Book, and as then implied, Dr. Leon E. Stover is conspicuous by his absence, and not missed.

A book review column, shorter than usual but just as vehement, features editor White’s praise of Lee Hoffman’s The Caves of Karst and a new reviewer, Richard Delap, whaling on Bug Jack Barron: “Science fiction’s answer to Valley of the Dolls has now made the scene with all the pseudo-values of its mainstream counterpart unrevised and intact in a transposition to pseudo-sf.” Delap also doesn’t care much for the new collection of old stories The Far-Out Worlds of A.E. van Vogt, but this disappointment is expressed more in sorrow than in gusto. These two reviews are reprinted from a fanzine, but Delap will be contributing regularly to this column going forward.

The fanzine reviews and letter column fill out the issue. In the letter column, White notes that James Blish has moved to England and his book reviews will be less frequent. Other highlights of the letter column include Joe L. Hensley complaining in kind about the misspelling of his name on last issue’s cover, Bob Tucker reviving his 36-year-old beef about staples, to White’s consternation, and both White and John D. Berry, the fanzine reviewer, weighing in on the purpose of that column in response to a complaining reader. White takes issue with a reader who thinks the use of “sci-fi” is only a minor problem, and announces to another reader that he has dropped the movie reviews for the present. He also notes that he continues to write stories but his agent insists on sending them to Playboy—where, I note, nothing by White seems yet to have appeared.

Oh, the cover. I almost forgot. It’s the good cover by Johnny Bruck that we’ve been waiting for—not especially attractive, but very interesting. Foregrounded is an African-looking face peering out from what at first looks like the fur-lined hood of one of the Inuit or other far-North American peoples, but on closer examination is a collage of partial images of pieces of equipment and (I think) living things. It’s a surreal picture that, unusually, doesn’t look like imitation Richard Powers. Provenance is the German Perry Rhodan #250, from 1966.

On the contents page, Greg Benford’s story Sons of Man is listed as “The story behind the cover.” White said last issue that he doesn’t have control over the covers, but he’s been able to commission stories, including Benford’s, to be written around the pre-purchased covers. So I guess Sons of Man is actually the story in front of the cover. Inside, the story is illustrated by none other than editor White—his first professionally published art. It’s adequate, but he shouldn’t quit his day job. In other interior illustration news, Mike Hinge has done small illustrations for the headings of the editorial, book reviews, and other departments.

A. Lincoln, Simulacrum (Part 1 of 2), by Philip K. Dick

The biggest news in this issue is Philip K. Dick’s serial, A. Lincoln, Simulacrum. Per my practice, I won’t read and rate this until both installments are available, but there’s plenty of talk about the novel here. White’s editorial says without elaboration that it is totally uncut—in fact, it’s “slightly revised and expanded” for its appearance here.


by Mike Hinge

White does leave us with a bizarre anecdote. Several years ago, he showed Dick a photo of himself looking rather like Dick (both with full beards and dark-rimmed glasses). Dick asked for a copy, since his agent was after him to provide a photo for a British edition of The Man in the High Castle. So Dick sent the photo of White—and it appeared on the book. White says: “So here’s a chance to say, ‘Thanks, Phil,’ for the chance to associate myself, albeit deceitfully, with one of his best books.”

About the novel, White says:

“. . . Phil told me, ‘I put a lot of myself into this one—I really sweated into it.’ It’s more of a novel of character than any previous Philip K. Dick novel, and in writing and scene construction it approaches the so-called ‘mainstream’ novel. It is also something of a ‘root’ novel, planting as it does in 1981 many of the themes and constructs which pop up in later books of his loose-limned future history. And it is the first and only Philip K. Dick novel to be told in first person by its protagonist.”

Sons of Man, by Greg Benford


by Ted White

Greg Benford’s Sons of Man is a well crafted story using the familiar device of telling two unrelated stories in parallel, gradually revealing that they are not so unrelated after all. In one, Livingstone, who has moved to the northwestern wilderness to get away from civilization, finds a man named King collapsed in the snow near his cabin with severe burn injuries of no obvious origin, then sees a face peering into his window, and later, bare footprints two feet long. King’s been Sasquatch hunting and they seem to be hunting him back.

Meanwhile, on the Moon, Terry Wilk is trying to make sense of the records of an ancient spacecraft that crashed after visiting Earth early in human prehistory. Members of the New Sons of God cult are looking over his shoulder to make sure he doesn’t find out anything heretical. The story reads like it might develop into a series but stands on its own. The style seems a little awkward at the beginning, as if it’s something Benford started earlier in his career and came back to later, but overall, it’s very readable, cleverly assembled, and generally enjoyable. Four stars.

A Sense of Direction, by Alexei Panshin

Alexei Panshin’s short story A Sense of Direction is set in the same universe of “the Ships” as his Nebula-winning Rite of Passage. The interstellar Ships lord it over the people of the colonies that they established. Arpad, whose father married into a planetary culture and left (was left by) his Ship, was reclaimed for the Ship when his father died. He’s miserable in its unfamiliar culture, and makes a break for it during a landing on another planet. But the folkways there are so bizarre and repellent that he quickly changes his mind and sneaks back. So, like most of Panshin’s work, it’s Heinleinian: The (Young) Man Who Learned Better, capably done but just a bit too schematic and pat. Three stars.

A Whole New Ballgame, by Ray Russell

Ray Russell contributes A Whole New Ballgame, a compressed soliloquy on a theme previously aired by Larry Niven (in The Jigsaw Man), with a first-person semi-literate narrator. It’s just about perfect in its small compass and inexorable logic. Four miniature stars.

Sarker’s Joke Box, by Raymond Z. Gallun

The “Famous Classic” this month is Sarker’s Joke Box, by Raymond Z. Gallun, from the March 1942 Amazing. It’s yet another testament to the corrupting effects of Ray Palmer’s editorship. It begins: “Clay Sarker had me covered with his ugly heat-pistol. Kotah, the little Venusian scientist he’d held captive for so long, crouched helplessly chained, there, in one corner of Sarker’s cavernous mountain hideout. My life wasn’t worth the cinders in a discarded rocket-tube.” “Gimme bang-bang” wins out again! Pull out your copy of the June 1938 Astounding Science-Fiction, or the anthology Adventures in Time and Space, and compare Gallun’s much classier Seeds of the Dusk to this one.


by Robert Fuqua

But the story is not a total loss. The narrator is a cop, and he and his buddies have rousted Sarker out of his last stronghold in the Asteroid Belt. Now he’s trapped in a cave on Earth while the other cops are closing in. But Sarker—“that black-souled demon of space”—turns his heat-pistol on Kotah and then on his own apparatus that fills the cave, which blows up quite satisfactorily, then enters a metal cylinder and closes and seals it behind him. When the main body of cops arrive, they try to penetrate it, but—it’s neutronium! They can’t scratch it. And to compound matters, Sarker’s lawyer appears and announces that since they’ve declared Sarker to be in custody, they’ve got to try him within 60 days or he goes free. So the cops redouble their efforts to get through the neutronium. At this point, the story turns into a scientific puzzle without (much) further resort to hokey melodrama. It’s perfectly readable and commendably short. Three stars.

The Columbus Problem, by Greg Benford and David Book

Greg Benford’s second appearance in the issue is the first “Science in Science Fiction” article, done with David Book. It’s called The Columbus Problem and it starts out with a quotation from a Poul Anderson novel about a spaceship arriving at a new star system: “The instruments peered and murmured, and clicked forth a picture of the system. Eight worlds were detected.” Benford and Book then explain just how difficult and time-consuming it would actually be to detect the planets of an unfamiliar star system upon arrival at it, with our present technology or likely enhancements of it. They do a fine job of plain English explanation without becoming tedious. It beats hell out of Frank Tinsley’s earlier science articles for Amazing and edges Ben Bova’s. Four stars.

Summing Up

So, deferring judgment on the serial, here’s a lively issue of which much is quite good and nothing is a chore to read. Amazing!



[Come join us at Portal 55, Galactic Journey's real-time lounge! Talk about your favorite SFF, chat with the Traveler and co., relax, sit a spell…]




[October 6, 1969] The Rule of a Mediocracy (Vision of Tomorrow #3)


By Mx Kris Vyas-Myall

The Times is running a series of articles where major thinkers elucidate on what they believe life will be like in 1980. The series started with Arthur Koestler (philosopher most known for his Orwellian novel, Darkness at Noon) who predicts that, in the Britain of 1980, Mediocracy will be the order of the day.

Drawing of Arthur Koestler at a table pointing to a diagram of the human circulatory system
Arthur Koestler by David Levine

By this he means that instead of having a meritocratic system, defined by IQ plus effort, the main ingredients of life will be common sense plus inertia. Institutions will continue in modified forms without revolutionary change. Politicians are more likely to be dentists than demagogues. The family structure will continue but divorce and extramarital relationships will be commonplace. Housewives will have “bugs”, small time-saving robots, to do their household tasks, but they will breakdown so frequently the repairman will be a regular guest.

On a more positive note, he foresees the removal of private cars from cities, to be replaced by automated electric vehicles for hire. Office work will be done from home, with tactile simulators introduced to ensure people do not feel deprived of physical contact. Education will begin shortly after birth and young people will be encouraged to engage in more out-there behaviour before settling into mediocre adulthood.

We will have to wait another decade to see if his predictions come true. But, if the latest Vision of Tomorrow is any sign of things to come, mediocrity is certainly on the horizon.

Vision of Tomorrow #3

Vision of Tomorrow #3 Cover with a drawing of two spaceships over a futuristic city
Cover art by Eddie Jones

Yes, I am also still waiting for issue #2. I am assuming there was some hiccough at the printers.

In his editorial, Harbottle continues to outline his vision for the magazine. Firstly, stories must be “entertaining”, secondly, they should not contain sex. New Worlds this is not!

Let’s see how this translates into prose.

Shapers of Men by Kenneth Bulmer

Drawing of a man in a ruined spaceship that has crashed into the top of a tree
Illustrated by Eddie Jones

Once again, Mr. Bulmer opens the magazine with an adventure tale. This one, we are told, marks the start of a new series. Fletcher Cullen, “galactic bum”, travels across the stars wherever the loot and action take him. In this opening installment, Cullen’s flier is shot down over Sitasz and he finds himself in the middle of a conflict between the humans and the natives.

Man with a gun facing towards us with two alien beings behind him
Illustrated by Eddie Jones

This is a rather old-fashioned kind of interplanetary tale with some attempts at modern touches. Cullen is an untrustworthy rogue, miles away from Flash Godon or Clark Kent, the Sitazans are a well-constructed alien race and there are attempts to bring in modern frames of reference like LSD.

However, it is really boring to read. Generally each chapter will spend most of the time in overwrought descriptions and dull exposition, then a quick escape, followed by a capture by someone else. Even Bulmer’s amusing similes are like fish and guests, starting to smell off after the third time.

A low two stars

Number 7 by Eric C. Williams

Frederick Hasty, technical overseer of demolitions in London, is called to Number 7, Good Peace Road, in New Cross. Its destruction is a necessary part of the rationalization of London currently taking place. Unfortunately, the property is surrounded by an impregnable invisible barrier.

A reasonable little mystery but one that does not amount to very much.

A low three stars

Science Fiction in Germany by Franz Rottensteiner

A one-page summary of the SF scene in both Germanies, covering Perry Rhodan, Utopia Zukunftsromane, translations, fanzines and conventions.

It does the job it intends to but it is not as good as Cora’s coverage.

Three stars

People Like You by David Rome

Drawing of a jeep driving up a mountainous roadside, overlooking a river valley
Illustrated by B. M. Finch

Gail and Gordon Coulton, and their daughter Dorinda, are staying in a holiday home overlooking Cody Canyon when they notice some of their property has been taken. They suspect it is their neighbour, George Abbot. But what could he want with these items?

I was reminded of The People stories, but Rome is no Henderson. It is enjoyable enough, with a nice twist in the tail, but nothing special.

Three Stars

The Impatient Dreamers Part 3: Shadow of the Master by Walter Gillings

With us still waiting for the intervening issue, we skip to the third of Gillings articles, looking here at the emergence of British SF writers and publications in the 1930s, along with his efforts to establish more SF fan clubs.

This continues to be a brilliant series casting a spotlight on an area of SF development I rarely see discussed.

Five Stars

Pioneers of Science Fantasy

Two colour magazine covers:
Pearson's: illustrating Winged terror with a giant caterpillar like creature terrorising an Edwardian city
Chums: Illustrating Beyond The Aurora showing a plane flying in space with wings filled with rocket boosters

Some special colour reprints and short looks at big names in the history of the genre. A kind of supplement to the prior article.

Fantasy Review

Ken Slater reviews the latest E. C. Tubb interstellar adventure, Escape Into Space. Apparently, it is a disappointment, lacking character and convincing explanations.

Lucifer! by E. C. Tubb

Drawing of a suave man wearing a ring whilst a woman with goat horns looks on behind him
Illustrated by Gerard Alfo Quinn

Speaking of Tubb, this tale tells of Frank Weston, a morgue attendant who manages to get his hands on a ring of The Special People. These rings are a kind of portable time machine, allowing him to reverse time over a short period. Frank uses it to get rich and powerful, but can it really give him everything he desires?

A pretty standard tale of this type, well told. Once again Ted lands straight in the middle.

Three Stars

The Adapters by Philip E. High

Drawing of giant translucent monk like figures standing in the rain with heads bowed
Illustrated by Gerard Alfo Quinn

Roger Pryor is a fugitive from The Invaders. Five years ago, people started falling down totally incapacitated when touched by them. They are huge beings invisible except in very specific temperatures and lighting. They continually tell him they are here to help and rescue him, but what can their real agenda be?

A tense and evocative piece. Not the most original but enjoyable enough to bump it above the general chatter.

A low four stars

The Nixhill Monsters by Brian Waters

Whilst travelling across the Australian outback Alice and Graham swerve to avoid a strange creature, like a glowing transparent humanoid. Stopping in the nearby town they are curious to know more, the townspeople however are determined to kill the monster.

This feels to me like a middle-of-the-road episode of The Twilight Zone, overly simple moral and all. Whilst fairly competently constructed it feels strange that everyone here quickly accepts the existence of an alien, but also wants to murder her simply because she looks weird.

Two stars

World to Conquer by Sydney J. Bounds

A Woman being lifted high into the sky by two creatures who resemble a cross between a human and a pterodactyl.
Illustrated by BM Finch

With the Earth devastated by radiation poisoning, humanity is desperately searching for a new habitable planet to live on. When they finally find the world of Asylum, it is already occupied by the intelligent Fliers. Leo Crane is sent to meet the inhabitants, to discover how easily they can be exterminated.

Whilst some parts of this are very old-fashioned (Marie’s “I’m a woman” speech is particularly excruciating), I found the scientific concepts involved interesting and the question raised about how humanity treats the worlds it finds worth pondering. By the end you want to ask if we would really have the right to survive?

Evens out at a high Three Stars

Prisoner in the Ice by Brian Stableford

Drawing illustrating two men looking on as another man attempts to pick a frozen Saber-toothed tiger out of an ice sheet.
Illustrated by BM Finch

After centuries of battling the encroaching ice, the Earth is finally starting to warm up. On one of these ice sheets three men discover a saber-toothed tiger, frozen in mid-leap.

A much more philosophical story than I was expecting from these pages. The tiger and ice melt are really just metaphors, the main thrust of this piece is a discussion about what people become when they fight to survive. Do they become the winners or merely leftovers?

Interesting to compare and contrast with the previous story.

Four Stars

A Dentist’s Waiting Room

A Woman crawling towards a man who is seated on the floor
An unusual final image from Dick Howett previewing issue #4

So perhaps common sense and inertia are the tools behind Visions of Tomorrow. I feel like little here would be out of place ten years ago, but it is generally competent. Only the Bulmer I found to have any structural flaws.

Whether this middle of the road approach will work in the long run remains to be seen. Being unobjectionable but unremarkable is not necessarily going to get people to drop their 5 shillings for the next issue. As the architect of the NHS Aneurin Bevan said:

We know what happens to people who stay in the middle of the road. They get run over!






[October 4, 1969] New kid in town (Strategy and Tactic's wargame, Crete)

photo of a man with glasses and curly, long, brown hair, and a beard and mustache
by Gideon Marcus

For the last decade or so, the term "wargame" has been virtually synonymous with Avalon Hill.  That Maryland game company has come out with one or two new titles every year in this exciting genre (along with a handful of other, more general releases).  But now, there's a new player in town.

Strategy & Tactics was, up to last month, one of many wargame fanzines.  Most such 'zines are devoted to supporting Play-by-Mail games of Diplomacy, but S&T has been more catholic in its coverage, reviewing many games and providing articles of general interest to wargame-lovers.  The magazine even included the occasional wargame, mostly rules for miniatures wargames (a related but different beast from board wargames).


Volume 1, Issue 7 of S&T including rules for the miniatures wargame of modern soldiering, Patrol


Janice and me playing Patrol with toy soldiers

With the latest issue, Volume 3, Issue 2 (#18 total), there is a new editor at the helm: Jim Dunnigan.  Dunnigan's name may be familiar to you as the fellow who developed 1914 and Jutland for Avalon Hill… and also a self-published game on last year's takeover of Columbia University.  He has elected to apply his wargame-creation talents toward designing a brand new board wargame for S&TCrete.


Cover of the latest issue of S&T


Table of contents of the latest issue of S&T

This fascinating game is a full-fledged simulation, incorporating a number of neat innovations.  It is also a Do-It-Yourself-er: the map and counters (and rules) are just printed in the magazine, which means you either need to cut them out and affix them to pasteboard, or make your own copies from scratch.  Since I have access to a Xerox machine, I was able to have the best of both worlds, photocopying the pieces and playboard, the former on colored construction paper, and the latter tinted with colored pencils.

Lorelei provided the box cover art!

So how does it play?  Read on!

Continue reading [October 4, 1969] New kid in town (Strategy and Tactic's wargame, Crete)

[October 2, 1969] Darkness, Darkness (November 1969 IF)


by David Levinson

An unexpected, expected coup

To the surprise of almost no one, September 1st saw a military coup in Libya. King Idris has grown increasingly unpopular ever since the United Kingdom of Libya was proclaimed in 1951. His government was initially seen as weak, due to the federal structure of the kingdom, sharing power between the three main regions of the country: Cyrenaica in the east, Tripolitania in the northwest, and Fezzan in the southwest. After Idris dissolved the federal system in 1963, he was seen more as an autocrat. Always more a religious leader than secular, he was viewed by more progressive elements in the country as a hindrance to making Libya a modern nation. His government has also been widely seen as corrupt. Once one of the poorest countries in the world, Libya has grown rich in the last decade since the discovery of oil, but little of that wealth has gone beyond the king and his advisers.

So when Idris traveled to Turkey for medical treatment, everyone was expecting a coup. The king himself had offered to abdicate a few weeks earlier while he was on vacation in Greece. The blow was expected to come from Abdul Aziz Shahli, Chief of Staff of the Libyan Army, and his brother Omar, the royal councilor. The two are the sons of Idris’ longtime chief advisor, who had been murdered by a nephew of the queen.

King Idris from a couple of years ago.

But they were beaten to the punch by a group calling themselves the Free Officers Movement, no doubt inspired by Nasser’s Egyptian Free Officers who toppled King Farouk. The coup was swift, seemingly bloodless, and has been accepted in the country with no resistance and a fair amount of enthusiasm. The Revolutionary Command Council which heads the FOM quickly informed foreign diplomats that treaties and agreements would be respected and that foreign lives and property would be protected. Recognition of the new government followed almost immediately, including from the United States on the 6th.

Since then, a cabinet of eight ministers has been appointed to implement the policies of the Revolutionary Command Council. Six of ministers, including Prime Minister Soliman Al Maghreby, are civilians, and the two military men are not members of the RCC. The new government has announced that Libya will not be renewing the leases on British and American air bases as they come due over the next two years. That means Wheelus Air Base will be closing down next year, but the base’s importance has declined over the last few years, and there had already been discussions with the previous government about the U.S. withdrawing from Libya.

Libya’s new Prime Minister, Soliman Al Maghreby.

A deep but dazzling darkness

We’re all still wondering what direction Ejler Jakobsson is going to take the magazines he helms. Based on this month’s IF along with the story Survival in last month’s issue, I’d say he likes stories with a darker tone, because, boy, is this issue full of dark stories.

This month’s cover depicts nothing in particular. Art by Gaughan

Continue reading [October 2, 1969] Darkness, Darkness (November 1969 IF)

[Sep. 30, 1969] Decisions, decision (October 1969 Analog)

photo of a man with glasses and curly, long, brown hair, and a beard and mustache
by Gideon Marcus

Options in Space

Just two months ago, men set foot on the Moon.  It was the culmination of 12 years of American progress in space, nine years of manned flights.

And yet, it is also just the beginning.  This nation has built the infrastructure to begin a new era of space exploration and exploitation.  As of this moment, the National Air and Space Administration (NASA) has no formal plans for human spaceflight beyond the flight of Apollo 20 sometime in 1973, and a somewhat inchoate, 3-man space station project—this latter to utilize a converted Saturn rocket upper stage. 

In order to turn further dreams into reality, President Nixon has created a "Space Task Group", headed by Vice President Agnew and comprising luminaries like NASA chief Thomas Paine and Secretary of Defense Melvin Laird, to map what the next decade in outer space will look like.  They submitted their report, "The post-Apollo space program: directions for the future", on September 15.

The 29-page report outlines an ambitious set of proposals, even the most modest of which still sets lofty goals.  In short, the options are:

  1. Land a man on Mars by 1980; orbit a multi-person lunar station; orbit a 50-person space station in Earth orbit; develop a reusable spacecraft to shuttle personnel and supplies to and from these stations;
  2. The same, but with a deferred Mars landing; and,
  3. The same, but with no Mars landing.

With regard to the station, it appears that it won't be a all-of-a-piece spinning wheel as seen in 2001 or the old Collier's articles from the early '50s.  Instead, NASA will mass-produce station modules, which can be put together like Tinkertoys.

There are three options presented for military spaceflight, as well, but these are not fleshed out proposals, merely budget amount suggestions based on how hot or cool international tensions are over the next decade.

Only time will tell which of these options, or which portions of these plans will be implemented and when.  It is one thing for the Vice President to boost space (a consistent tradition since 1961!) It remains to be seen if Dick Nixon will commit this nation to a grand, interplanetary goal, in the vein of his erstwhile opponent, Jack Kennedy.

Options in Print

As the STG offers up a number of options for the future of human spaceflight, so Analog editor Campbell offers up a number of possible futures set further beyond in the latest issue of Analog.


by Kelly Freas

Continue reading [Sep. 30, 1969] Decisions, decision (October 1969 Analog)

[September 28, 1969] Apollo’s New Muses (Women Behind the Scenes in the Apollo Programme)

Seven years ago, the Journey published an article on the Women Pioneers of Space Science.  At long last, Kaye offers a much-needed update, this time focusing on the women who helped make Apollo 11's trip to the Moon possible…


by Kaye Dee

Classical literature tells us that the god Apollo was associated with the Nine Muses, the goddesses who inspired the arts, literature and science.

Our modern Apollo program also has its Muses – trailblazing women working behind the scenes in critical areas of the programme. They deserve to be better known, not just for their own impressive careers to date, but also as role models, inspiring girls and young women who might be interested in science, technology, engineering, mathematics or medicine, but are diverted away from them by the prevailing view that careers in these areas are for men, not women.

The famous ‘Dance of Apollo and the Muses’ by the Italian architect and painter, Baldassare Tommaso Peruzzi

As someone who has had to contend with these stereotypes myself, trying to establish a career in the space sector in Australia, I thought it might be interesting this month to delve into the stories of four of the women working behind the scenes in the Apollo programme: modern-day daughters of Urania, the Muse of Astronomy, Mathematics and the “exact sciences”.

The “Return to Earth” Specialist: Frances “Poppy” Northcutt

Every aspect of a lunar voyage involves moving objects – the Apollo spacecraft, the Earth and the Moon. Calculating the trajectories required for an Apollo mission to meet and go into orbit around the Moon at a particular date and time, is a mind-bending feat. But getting astronauts safely home from the Moon is even more important!

NASA’s specialist in the incredibly complex and precise calculations required to determine the optimal trajectories for the return to Earth from the Moon, minimising fuel and flight time, is Miss Frances Northcutt, who goes by the nickname “Poppy”. She is, perhaps, the only one of these ladies that you might have heard of (at least those of you in the United States), as she was such a “curiosity” during the press and television coverage of the Apollo-8 mission that she has been interviewed many times (and more on this below).

Born in 1943, Miss Northcutt earned a mathematics degree from the University of Texas, then commenced working at TRW in 1965 as a “computress”! Yes, that was her actual job title, although in Australia we’d have just called her a "computer" (a term applied here and in Britain to both men and women doing this kind of intensive calculating work). Miss Northcutt was placed at NASA’s Langley Research Centre, calculating spacecraft trajectories for the Gemini missions. She proved to be so talented in this area that within just six months TRW promoted her to engineering work with its Return to Earth task force, helping to design the computer programmes and flight trajectories to return an Apollo spacecraft from lunar orbit to Earth.

A simplified version of the Apollo lunar free return flight trajectories

Poppy Northcutt became the first woman to work in this type of role and was soon undertaking the intricate calculations involved in enabling the Apollo astronauts to travel around the Moon and come safely home. The Moon’s lower gravity changes parameters such as fuel usage, as well as the timing of manoeuvres, so the calculations are particularly tricky. Poppy identified mistakes in NASA’s original trajectory plan, performing calculations that reduced the amount of fuel used to swing around the Moon.

When NASA decided that Apollo-8 would become a lunar orbiting mission, the task force team, including Miss Northcutt, moved to Mission Control to instruct the flight controllers on the trajectory calculations and be available to make real-time calculations and course corrections in the event of unexpected incidents during the flight. Assigned to Mission Control's Mission Planning and Analysis room, Miss Northcutt and her team have been an integral part of Apollo-8, 10 and 11 and are now preparing for Apollo-12. She is the only female engineer in the teams that work in the backrooms of Mission Control in Houston, providing support to the flight controllers.

Poppy Northcutt working in the Mission Control support room during Apollo-8

Working Like a Man (but not being paid like one!)

“Computresses” in Miss Northcutt’s original position are classed as “hourly workers”, with their wages capped at working 54 hours per week (in other words, five nine-hour days). Their male counterparts were not only paid more (as we all know, female workers are generally paid between about half and two-thirds of the wages for a man doing the same job), they were also on salaries and paid overtime.

As an ambitious young woman, Miss Northcutt quickly realised that to earn the respect of her male colleagues and be considered a peer, she would have to work the same long hours they did – even if this meant that she was essentially working 10 or more hours a week for no pay!

A NASA promotional photo of Miss Northcutt at work in March this year. She presents herself as a diligent professional

Her talent and diligence paid off with her promotion to engineer, but, ironically, even though she was still being paid less than her male colleagues, Miss Northcutt tells the story that there was no normal mechanism to approve the pay rise she received with this jump from Computress! Her manager had to keep scheduling the highest possible raise as frequently as he could to bring her up to the full female rate of her new salary. 

During Apollo missions, when shifts last around 12 to 13 hours a day in Mission Control, Miss Northcutt usually commences her duty shifts for each mission around the time that the Apollo spacecraft, coasting towards the Moon, prepares to enter the lunar sphere of gravitational influence. During lunar orbit insertion she stands by to assist with new calculations, in the event of an emergency abort, and she reports for duty at Mission Control every day of the lunar phase of the mission and until the astronauts have returned safely to the Earth's sphere of influence. No one can say Poppy Northcutt isn’t pulling her weight, just like a man!

Sexism, Celebrity and Activism

As the only female engineer in Mission Control during the Apollo-8 mission, Miss Northcutt was such a “curiosity” that she received a lot of attention from journalists. While much of this coverage was not seen in Australia, from what I have heard from friends in America, I understand that many of the questions that she received were quite sexist – and even silly.

Miss Northcutt is a very pretty woman and dresses fashionably, so apparently ABC reporter Jules Bergman thought it was more important to ask about her potential to distract her male colleagues from the mission, than to ask about her crucial role: “How much attention do men in Mission Control pay to a pretty girl wearing miniskirts?” Would they have asked a male flight controller if the suit he was wearing turned the heads of the typing pool?! I gather that she gave him a polite brush off response.

A friend in the US took this photo from her television screen, giving me a glimpse of Mr. Bergman's interview with Miss Northcutt

It is bad enough when reporters focus on her appearance and ask her such inane questions, while she operates at the level of her male colleagues, for far less monetary reward. But Miss Northcutt has also reported an instance in which she discovered that the other flight engineers were covertly watching her on a video feed, from a camera trained on her while she was conducting equipment flight tests.

As a result of her personal experiences with sexism, Miss Northcutt has become a strong advocate for women’s rights, and has joined the feminist National Organisation for Women. Even in her early days at TRW, she worked to improve the company’s affirmative action and pregnancy leave policies. “As the first and only woman in Mission Control, the attention I have received has increased my awareness of how limited women’s opportunities are”, she has said. “I’m aware of the issues that are emerging. Working in this environment I can see the discrimination against women.”

TRW is happy to use Miss Northcutt's minor celebrity to promote itself, but not happy enough to pay her the same salary as her male colleagues!

However, while she is not pleased that much of the attention she has received has been focussed on her appearance, or treating her as a rare exception to the male-dominated world of spaceflight, Miss Northcutt has said that she recognises that being a woman visibly occupying a critical position in the space programme does send a very positive message to women and girls: a career in science and technology is possible if you want it – and are prepared to work for it!

Miss Northcutt has received letters and fan mail from around the world (including several marriage proposals, it seems!) She has said that she is motivated to continue to advocate for women’s rights in the workplace by the letters she has received from young women, who have said how much she has inspired them. 

Whoever Heard of a “Software Engineer”? Margaret Hamilton

The Apollo missions not only need precise trajectories for their lunar voyages – they also need software for their onboard flight computers, which control so many aspects of the flight. If you’re not familiar with this term, “software” describes the mathematical programmes that tell a computer how to carry out its tasks, and a “software engineer” applies the engineering design process to develop software for those different tasks.

The Director of Apollo Flight Computer Programming is Mrs. Margaret Hamilton Lickly, who prefers to be known professionally as Margaret Hamilton.I've heard that women in the United States who prefer not to be categorised by their marital status, are now starting to use the designation "Ms.". I don't know if Margaret Hamilton is using this new honorific, but it seems to me appropriate to apply it to her in this article. 

33-year-old Ms. Hamilton is another woman playing a crucial role in NASA’s lunar program. Not only is she a pioneer in software engineering, she even coined the term!


Like Miss Northcutt, Ms. Hamilton is also a mathematician, having studied at the University of Michigan and Earlham College. Shortly after graduating in 1958, she married her first husband, James Hamilton, and taught high school mathematics and French, before taking a job in the Meteorology Department at the prestigious Massachusetts Institute of technology (MIT) in 1959, a few months before the birth of her daughter.

Ms. Hamilton developed software for predicting weather, and in 1961 she moved to MIT’s Lincoln Lab for the Semi-Automatic Ground Environment (SAGE) Project, adapting weather prediction software into a programme used by the U.S. Air Force to search for potential enemy aircraft. At the Lab, she was the first person to get a particularly difficult programme, which no-one had been able to get to run, to actually work! While working on SAGE, Ms. Hamilton began to take an interest in software reliability, which would pay dividends during Apollo-11’s lunar landing.

A Calculated Move

When Margaret Hamilton learned about the Apollo project in 1965, she wanted to become involved in the lunar programme, and moved to the MIT Instrumentation Laboratory, which was developing the Apollo Guidance Computer. She was the first programmer hired for the Apollo work project at MIT and has led the team responsible for creating the on-board flight software for both the Apollo Command and Lunar Modules. She also serves as Director of the Software Engineering Division at the Instrumentation Laboratory.

The Apollo Guidance Computer was installed on both the Command and Service Modules. Astronauts communicated with it using a numeric display and keyboard

While working on the Apollo software, Ms. Hamilton felt that it was necessary to give software development the same legitimacy as other engineering disciplines. In 1966, she therefore coined the term “software engineering” to distinguish software development from other areas of engineering. She believes that this encourages respect for the new field, as well as respect for its practitioners.

A page from the software for the Apollo Guidance Computer

On one occasion when her young daughter was visiting the lab, the little girl pushed a simulator button that made the system crash. Ms. Hamilton realised immediately that the mistake was one that an astronaut could make. While Ms. Hamilton has said that she works in a relationship of "mutual respect" with her colleagues, when she recommended adjusting the software to address the issue, she was told: “Astronauts are trained never to make a mistake.” Yet during Apollo-8, astronaut Jim Lovell made the exact same error that her young daughter had!

While Ms. Hamilton’s team was able to rapidly correct the problem, for future Apollo missions protection was built into the software to prevent a recurrence. With her interest in software reliability, Margaret Hamilton insisted that the Apollo system should be error-proof. To achieve this goal, she developed a programme referred to as Priority Displays, that recognises error messages and forces the computer to prioritise the most important tasks, also alerting the astronauts to the situation.

In Part 2 of my series of Apollo-11 articles, we saw how, during the descent to the Moon’s surface, the Lunar Module’s computer began flashing error messages, which could have resulted in Mission Control aborting the landing. However, the Priority Displays programme gave Guidance Officer Bales and his support team confidence that the computer would perform as it should despite the data input overloads that it was experiencing, and that the landing could proceed.

Ms. Hamilton with this year's printout of the entire Apollo Guidance Computer software

Ms. Hamilton and her 100-strong team continue to work on developing and refining the Apollo flight software, and I’m sure that they will contribute to whatever future spaceflight projects NASA develops, stemming from Vice-president Agnew’s recently-delivered Space Task Group report to President Nixon.

“I’ve Got Rocket Fuel in my Blood”: JoAnn Morgan

Mission safety and reliability are, of course, critical, but Apollo-11 could not even have made the historic lunar landing if the mission had been unable to launch in the first place! When Apollo-11 lifted off, there was one lone woman in the launch firing team at Kennedy Space Centre’s (KSC) Launch Control Centre, who helped to ensure that would happen – Instrumentation Controller JoAnn Morgan.

JoAnn Morgan watching the lift-off of Apollo-11 from her station in Launch Control

Mrs. Morgan, who was born in December 1940, has described herself as a “precocious little kid” who loved mathematics, science and music, and wanted to become a piano teacher. However, after her family moved to Florida from Alabama, she was inspired by the launch of the first American satellite, Explorer-1, in January 1958, and its significant discovery of the Van Allen Radiation Belts. It was the “opportunity for new knowledge” that space exploration represented that filled the teenager with a desire to be part of the new space programme.

Young JoAnn with one of her favourite books. As a child she loved to read and play with her chemistry set

Soon after, JoAnn saw an advertisement for two (US) Summer student internship positions, as Engineer’s Aides with the Army Ballistic Missile Agency at Cape Canaveral. As we know, job openings are often advertised separately for males and females, but this ad only referred to “students” (not “boys”), so she took the chance, decided to apply, and was successful thanks to her strong marks in science and mathematics.

So, at just 17, JoAnn Hardin, as she was then, began working as a University of Florida trainee for the Army at Cape Canaveral Air Force Station. “I graduated from high school on the weekend and went to work for the Army on Monday. I worked on my first launch on Friday night” is how Mrs. Morgan describes the beginning of her NASA career. The Army programme she was working with became part of NASA when it was established in October 1958.

Supportive Male Mentors

While undertaking her degree in mathematics at Jacksonville State University, Mrs. Morgan continued her Summer internships with the NASA team launching rockets at Cape Canaveral. The young student’s potential did not go unnoticed, and she acknowledges that she received significant support in furthering her career from several senior NASA personnel, including Dr. Wernher von Braun, the chief architect of the Saturn V rocket, Dr. Kurt Debus, the first director of Kennedy Space Centre and Mr. Rocco Petrone, Director of Launch Operations at KSC.

Mentors Kurt Debus, left, and Rocco Petrone, right, during the Apollo 7 flight readiness test in the blockhouse at Complex 34

Dr. Debus provided Mrs. Morgan with a pathway to becoming an engineer, and she gained certification as a Measurement and Instrumentation Engineer and a Data Systems Engineer, which enabled her to be employed as a Junior Engineer on the launch team. “It was just meant to be for me to be in the launching business,” she says. “I’ve got rocket fuel in my blood.”

As a young woman joining an all-male group, Mrs. Morgan was fortunate that (unbeknownst to her at the time) her immediate supervisor, Mr. Jim White, insisted that the men on the launch team address her professionally, not be “familiar”, and reportedly told them that “You don’t ask an engineer to make the coffee”! (Which, of course, is often a task that falls to the women in any office).

Professional Disrespect

Despite Mr. White’s efforts to create an environment of respect for his first female engineer, Mrs. Morgan has still described experiencing sexism and harassment, treatment similar to the experiences of Miss Northcutt. With no female restrooms in the launch blockhouses at Cape Canaveral, when she needs to use the restroom, she has to ask a security guard to clear out the men’s room so that she can enter. She has reported receiving obscene phone calls at her station (which disappointingly could only have come from colleagues).

However, like Miss Northcutt, while she has said that she sometimes feels a sense of loneliness as the only woman in the team, Mrs. Morgan “wants to do the best job she can” and works the same long hours as her male colleagues. In 1967, as the Apollo programme was ramping up, her dedication to her work had tragic consequences. The stress and long hours of her job contributed to her miscarrying and losing her first child.

The crowded interior of the blockhouse at Launch Complex 34, where Mrs. Morgan has often worked

Perhaps the most shocking example of professional disrespect and harassment (which could be considered an assault) that Mrs. Morgan has experienced was during a test being conducted at the blockhouse for Pad 34, where the first Apollo missions were set to be launched. When preparing to acquire some test results, she was actually struck on the back by a test supervisor, who aggressively told her that “We don’t have women in here!” She had to appeal to her own supervisor, Mr. Karl Sendler (who developed the launch processing systems for the Apollo programme) to confirm that she could remain. He told her to disregard the test supervisor and continue with her work (though it’s not clear if any action was taken against the offending supervisor).

On Console for Apollo-11

The unpleasant incident with the test supervisor prompted many of Mrs. Morgan’s colleagues and senior managers to come forward in expressing acceptance and respect for her as part of the team. Nevertheless, even though she has worked launches for Mercury, Gemini and Apollo, received an achievement award for her work during the activation of Apollo Launch Complex 39, and been promoted to a senior engineer, Mrs. Morgan has frequently found herself rostered for the inconvenient evening shifts. Since her husband is a school teacher and band-leader, this hasn’t always allowed them a lot of time to be together.

Until Apollo-11, Mrs. Morgan was also not selected to be part of the firing room personnel for a launch, usually being stationed at a telemetry facility, a display room or a tracking site for launch. She found this very disappointing, as she always wanted to feel the vibrations from a launch that her colleagues described.

But her desire to experience the incredible shockwave vibrations of a Saturn-V lift-off was finally achieved with the launch of Apollo-11. Recognising that Mrs. Morgan is his best communicator, Mr. Sendler quietly obtained permission from Dr. Debus for her to be the Instrumentation Controller on the console in the firing room for Apollo 11! (This achievement also had the bonus of working day shifts, so that she has been able to spend more time with her husband).

Can you spot the lone woman in a sea of men? In this picture of the Launch Control firing room during Apollo-11, Mrs. Morgan is in the third row, just to the left of centre.

A successful launch is critical to each mission and Mrs. Morgan believes that her prime role in the launch of the historic mission will help to further her career within NASA. Although she has not received the same level of press and television attention as Miss Northcutt, she does hope that even the photos of her in Launch Control – a lone woman in a sea of men – will help to inspire young women to aspire to careers in the space programme, so that, at some time in the future, photos like the ones she is in now “won’t exist anymore.”

Making Packed Lunches for Astronauts: Rita Rapp

You could say that the astronauts are the most fragile component of each Apollo mission. Nutrition is important in keeping crews healthy and functioning during a flight, so space food has to be as appetising as possible, within the constraints of spaceflight and the weightless environment – especially as missions to the Moon, and future space stations and lunar bases will keep astronauts in space for longer and longer periods. 

Physiologist Miss Rita Rapp, head of the Apollo Food Systems team, has been looking after the astronauts' bodies – and stomachs – since she joined NASA in 1960. For the Apollo programme, she has developed the space food and food stowage system designed to keep the astronauts supplied with the right mix of calories, vitamins, and nutrients to enable them to function well in space. One of her goals has been to ensure that crews have something worth eating during their spaceflights.

Rita Rapp with some of her space food innovations that have greatly improved the space food menu for Apollo astronauts

Born in 1928, Miss Rapp studied science at the University of Dayton and then took a Master’s in anatomy at the St. Louis University Graduate School of Medicine. She was one of the first women to enrol in this school. Graduating in 1953, she took a position in the Aeromedical laboratories at Wright-Patterson Air Force Base, where she began assessing the effects of high g-forces on the human body, especially the blood and renal systems, using centrifuge systems.

In 1960 Miss Rapp joined NASA’s Space Task Group preparing for the Mercury manned spaceflight programme, later transferring to the Manned Spacecraft Centre in Houston. For the Mercury program, she continued her work on centrifugal effects on the human body. She also designed the first elastic exercisers for Mercury and Gemini missions, devised biological experiments for the astronauts to conduct in-flight, and developed the Gemini medical kit.

The first Gemini biological experiment, designed by Miss Rapp

From Aeromedicine to Space Food

In 1966, as the Apollo programme was ramping up, Miss Rapp joined the Apollo Food Systems team. Although she has continued to work on space health and hygiene projects, in her new role her primary focus became looking at systems for storing food onboard the Apollo spacecraft. Working with dieticians, and commercial companies, she has investigated the ways space food could be packaged and prepared, and become the main interface between NASA’s Food Lab and the astronauts.

Although she tries to use as much commercially available food as possible, Miss Rapp and her team are also continually experimenting with new recipes in the food lab, gradually replacing the earlier “tubes and cubes” style of space food used in Mercury and Gemini with meals that are closer to an everyday eating experience.

She has developed improved means of food preservation, such as dehydration, thermostabilisation, irradiation and moisture control, which allows for a wider range of foods to be suitable for spaceflight, and I have no doubt these useful technologies will find their way into commercial food preparation and onto our supermarket shelves in the not-too-distant future. 


Working with the Whirlpool Corporation, Miss Rapp has developed new forms of food packaging for Apollo, such as the spoon bowls, “wet packs” and cans for thermostabilised food. These containers enable astronauts to eat with more conventional utensils, instead of sucking food out of a tube or plastic bag. Creating a more natural, homelike eating experience is good for the astronauts’ morale and psychological health during missions. You can discover more about Miss Rapp's space food developments in my articles on the various Apollo missions. 

Miss Rapp takes great pride in providing the Apollo crews with the flavours and comforts of home. “I like to feed them what they like, because I want them healthy and happy,” she says. She takes note of their individual food preferences, often devises new recipes and prepares the individual meals of each Apollo astronaut separately. Her home-made sugar cookies, that she bakes herself, are a special favourite of Apollo crews, and additional supplies are included as snacks in the onboard food pantries of the Command and Lunar Modules. She also likes to provide the crews with special food “surprises”, such as the turkey dinner enjoyed by the Apollo-8 crew in lunar orbit on Christmas Eve last year.


Just the Beginning

The women of Apollo who I’ve discussed in this article are trailblazers for women’s participation in mathematics, engineering, and other technical aspects of spaceflight.  While they are not the only women in professional roles in the space sector, female participation in space careers, and in science, engineering, and technology more generally, is still very low.

I hope that by highlighting the exciting Apollo-related careers of the four women above, it will plant a seed in the minds of young girls reading the Journey that they, too, can aspire to careers in scientific and technological fields that are generally thought of only as careers for men. I also hope that growing levels of female participation in the workforce, together with feminist activism, will eventually consign the sexism, discrimination and harassment that women working in all careers experience at present, to the history books—though I won’t hold my breath on it happening any time soon.






[September 26, 1969] Poetry in motion — the Japanese Tanka


by Yo Aoyama

It's been a while!  This is Yo Aoyama with an article from hot Japan, where we are still experiencing a truly Endless Summer.

This may seem a bit out of the blue, but have you heard of tanka? Tanka is a traditional Japanese form of poetry first committed to writing in the Manyoshu collection of the Nara period. This 1200 year form uses a fixed 31-syllable (mora) format of 5-7-5-7-7.
 
I started making my own tanka a few years ago while composing lyrics and music, and it's something I study to this day. Nevetherless, I am still no expert, so please forgive me if my analysis is not 100% accurate. And bear with me—while the connection to science fiction and fantasy may not be immediately obvious, there is a revolution underway in the form that suggests a more fantastic future may be arriving soon…
 
In the modern era, tanka has focused on realism and been dominated by compositions about everyday life. Up to the 1950s, Tanka poems universally had a strong personal quality. That is, they have been considered as first-person literature, and the author has been considered as the main character in the poem, and the contents of the poems have often been based on reality. But since the 1950s, an "avant-garde Tanka movement" has emerged that seeks new forms of expression. Avant-garde Tanka is characterized by the use of symbols and metaphors, as well as the use of fiction. This has opened up the possibilities of Tanka poems.

The exciting potential of the new tanka can readily be seen in the following three recent works (rendered in Japanese first to demonstrate the rhythm, then translated into English).


1. 革命歌作詞家に凭りかかられてすこしづつ液化してゆくピアノ(塚本邦雄『水葬物語』,1951)

Kakumei ka sakushi-ka ni yorikakararete sukoshi dzutsu ekika shite yuku piano.

A piano that gradually liquefies, leaned upon by a revolutionary songwriter

Kunio Tsukamoto is representative of avant-garde tanka. The image of the liquefying piano is reminiscent of surrealist works such as Dali's "The Persistence of Memory". A revolutionary songwriter can be said to be someone who uses music as a political tool rather than as art. The sight of the piano liquefying under the influence of the songwriter can be thought of as representing the danger of art being absorbed into the political or practical world. Perhaps he had in mind the fact that the art form of tanka itself was in danger of disappearing due to its association with the nation and the Emperor System during World War II.


Kunio Tsukamoto, 1951

"Water Burial Story" is the opening poem of his first collection of tanka poems, Water Burial Story, and can be considered one of his masterpieces. His latest collection of tanka poems, "Kangenraku," was released on September 9 this year, and is also attracting attention.


Water Burial Story, by Kunio Tsukamoto, 1951


2. 晩夏光おとろへし夕 酢は立てり一本の瓶の中にて(葛原妙子『葡萄木立』,1963)

Bankakou o toro e shi yū; su wa tateri ip-pon no bin no naka nite

Late summer light fades in the evening; vinegar stands up in a single bottle

This next work, by Taeko Kuzuhara, caused Kunio Tsukamoto to dub her the "Queen of Visions." This is a poem (from the collection Budoukidachi) with a rather unique rhyme scheme and no third line. It is a casual poem about an evening in late summer when the strong sunlight has weakened, and vinegar stands up in a bottle, but readers will find it strange that she says that the vinegar stands up instead of saying that the bottle of vinegar stands up. Combined with the absence of a third line, a tranquil yet dignified atmosphere flows throughout the poem.

In this way, Kuzuhara's poems reinterpret reality by injecting a touch of fantasy into daily life.


Taeko Kuzuhara


Budoukidachi, by Taeko Kuzuhara, 1963


3. かくれんぼの鬼とかれざるまま老いて誰をさがしにくる村祭(寺山修司『田園に死す』,1965)

Kakurenbo no oni tokarezaru mama oite dare o sagashi ni kuru mura-sai

The village festival where the hide-and-seek demon, grown old, has come looking for someone

This last tanka is from the latest collection of poems, Dies in the Countryside, by Shuji Terayama, who is active in a wide range of fields, including as a poet, playwright, and scriptwriter. What distinguishes this tanka is the oblique subject. Who is the "someone" who will be the victim of the aged demon? Why is it there? The creepiness, like the plot of a horror movie, is amplified by the lack of a subject, which obscures the faces of the characters, and the magical atmosphere of the village festival, which has been fixed in reality.


Dies in the Countryside, by Shuji Terayama, 1965

Terayama is skilled at creating fiction, and his skills are fully demonstrated in his tanka. The anthology "Die in the Countryside," from which this poem is taken, has some autobiographical aspects, but also includes songs about a fictitious younger brother and his late mother (Terayama's actual mother is still alive), and shows a deliberate attempt to exclude or shift the personal.


Shuji Terayama


What did you think? Poets continue to write poems that attempt to capture profound thoughts, unforgettable scenes, and compelling stories in the very short 31-syllable form of poetry. Thanks to the modern revolutionaries, tanka is now open to infinite possibilities. Perhaps in the future we will see the birth of science fiction and fantasy tanka with even more narrative qualities. The ever-evolving trends of tanka will be something to keep an eye on—especially for those on this Galactic Journey!






[September 24, 1969] Murder, Madness, and Middle Age (What Ever Happened To Aunt Alice? And Its Predecessors)


by Victoria Silverwolf

For the past few years, there's been a cycle of psychological horror films starring famous actresses who are no longer young enough to be ingenues.  One producer/director is mostly responsible for this trend, as we'll see.  However, I believe its roots begin in a classic film nearly two decades old.

Sunset Boulevard (1950) stars Gloria Swanson, a major star in silent films and early talkies.  She plays Norma Desmond, who was — guess what? — a major star in silent films.  (Apparently not in early talkies.) She is also as mad as a hatter. 

The film is something of a satire of Hollywood and a dark comedy (it's narrated by a dead man) but it also has elements of horror.  Desmond is a grotesque caricature of a fading star who lives in a Gothic mansion that would suit the Addams Family.  The final scene is as creepy as heck.

Sunset Blvd (as the title actually shows up on the screen) is a great film, but it wasn't until a dozen years later that a fellow named Robert Aldrich took the idea of casting famous actresses who were no longer young in psychological shockers and made it a fad.

1962 saw the release of What Ever Happened to Baby Jane?, based on the 1960 novel of the same name by Henry Farrell.  It stars Bette Davis and Joan Crawford as sisters.  Davis plays Baby Jane Hudson, a former child star.  Crawford plays Blanche Hudson, whose own movie career was cut short when she was paralyzed from the waist down in an automobile accident. 

The siblings now live together.  Baby Jane is completely insane, dressing like a little girl and wearing outrageously heavy makeup.  This unhealthy situation leads to psychological torture and, of course, murder.

The two stars play against each other very well.  Hollywood gossip says they loathe each other, which may help.  Davis has much the meatier role.  The scene in which she sings I've Written a Letter to Daddy (His Address is Heaven Above), a sentimental number from her days as a child star, may give you nightmares.

The film was a success.  Aldrich decided that there was no reason to mess around with a winning formula.  He produced and directed Hush…Hush, Sweet Charlotte, released in 1964, with the same screenwriter (Lukas Heller, this time assisted by novelist Farrell) and one of the same stars.  Bette Davis is back, and Joan Crawford was supposed to return also, but she was eventually replaced by Olivia de Havilland.

Davis plays Charlotte, whose lover was brutally murdered in 1927 (in an extremely gruesome and bloody scene).  Decades later she's a recluse.  She's blamed for the killing, but it was never officially solved.  Suffice to say that de Havilland plays a cousin who shows up to help Charlotte; or does she?

Other film makers jumped on the bandwagon.  William Castle, famous for his gimmicky shockers, brought us Strait-Jacket the same year.  Crawford (and not Davis) returns, this time as a woman who murdered her husband and his lover with an axe. Her three-year-old daughter witnesses the crime.  A shocking scene opens the film, so know what you're in for.

Crawford spends twenty years in an institution for the criminally insane.  When she gets out . . . Let's just say that heads will (literally) roll.

Not to be outdone by Yanks, British production company Hammer offered Fanatic (known as Die! Die! My Darling! on this side of the pond) in 1965.  This time the actress of mature years is Tallulah Bankhead, who terrorizes the woman who was going to marry her recently deceased son. 

Is there murder on the way?  You betcha.

This trend has become so obvious that Mad magazine came up with a spoof of it.

It's in the January 1966 issue.  Track down a copy of the issue and enjoy the full parody.

Let's take a look at the latest example.

What Ever Happened To Aunt Alice?

Aldrich is back, but only as producer.  The director is Lee H. Katzin, and the screenplay is by Theodore Apstein.  It's based on the 1962 novel The Forbidden Garden by Ursula Curtiss.

Obviously, Aldrich is alluding to the title of his biggest success in this genre.  The trailer for the film makes this clear.  It's also misleading, implying that it's a whodunit.  We know who the killer is right at the start.


We don't even get the opening titles until after the first murder.

Geraldine Page, who has been nominated for four Oscars, a Tony, and who has won an Emmy, has the lead role.  (Not Aunt Alice; we'll get to her later.) The film begins with her discovery that her recently deceased husband left her nearly penniless.


The new widow.

She doesn't even own her palatial home, so she moves to an isolated house in the American Southwest.  (The film is unusual in having a sunny desert setting instead of the usual dark and spooky one.)

We find out right away that she has a habit of hiring housekeepers, convincing them to let her invest their savings, murdering them, burying them in her garden, keeping the loot, and making up some story about how the servants left.


Not the first victim, but the one that gets the plot going.

Some time after this latest killing, Ruth Gordon, fresh from her Oscar-winning performance in Rosemary's Baby, shows up and applies for the job.  (She's Aunt Alice, but we don't find out who she's the aunt of for a while.)


Aunt Alice and the desert landscape.

Aunt Alice has her own secret, but let's not give too much away.  Suffice to say that events threaten to unravel Page's little scheme.  The arrival of a young widow and her pre-teen nephew in the abandoned house nearby, the only one for miles around, adds complications.


There's also a dog that's very interested in the Forbidden Garden.

Aunt Alice snoops around, for a reason we'll discover later.  She finds evidence of Page's crimes.


A letter written to the victim we saw above.

Not quite as gruesome as some others of its kind — it almost looks like a made-for-TV movie at times — this is an enjoyable thriller.  There are a lot of other characters I haven't mentioned yet, and even a love story.

But Page and Gordon are the whole show.  The interaction between these two gifted actresses is a joy to behold.  Page is imperious, haughty, sarcastic, and ruthless.  Gordon is down-to-earth but brave and clever.

The plot creates a great deal of suspense.  It's not obvious whether or not Page will get away with it, or whether Gordon will expose her.  There's a nifty bit of irony at the very end.

Four stars.


I hope you enjoyed this journey through what has become a bonafide subgenre.  Who knows when the next film of this type will come out—but you can bet it'll make a killing…





55 years ago: Science Fact and Fiction