After a month or so, I’m back. It may be a little late, but a Happy 1968 to you.
Here in England the trials and tribulations of New Worlds magazine continue. If you remember, reduced subscriptions led to editor Mike Moorcock making the decision to go bi-monthly whilst finances were being sorted. Fellow traveller Kris also mentioned this last month.
Well, I’m pleased to say that things seem to be sorted, at least for now – which is why I was pleased to see this issue appear. I did have my worries that it might not. It is just labelled as “February 1968”, which means that we might be back to monthly publication again – but who knows?
Cover by Eduardo Paolozzi, designed by Charles Platt and Christopher Finch
Lead in by "The Publishers"
Photos of the key writers this month. New feature.
We seem to have moved from the idea of an editorial or an article to a section that describes the contents of the current magazine through quotes and commentary in more detail. I get the point – it’s clearly designed to get casual readers to delve further, and I must admit that it was interesting – I learned something! I just don’t see why these details couldn’t be at the top of each story or article. 4 out of 5.
And he’s back! Quick recap – readers may remember that Jack Barron is the media celebrity whose talk-show is widely watched across America. In the last part he took on the political world with an attack on his TV show on the Freezer Utility Bill, a law which will allow Benedict Howards and his corporation The Foundation for Human Mortality a monopoly on cryogenics in the future.
This part of the story deals with what happened after the show. Barron goes and picks up a woman for sex. Taking her back to his penthouse, they make love, but Barron spends time thinking of his ex, Sara Westerfeld.
Barron is then visited by Howards in his office. Howards is angry that Barron has appeared on television to oppose his Bill. Nevertheless, Howards offers in return for Barron’s support a free Freeze contract and therefore near-immortality. Barron refuses to take the offer, and is so annoyed that he sets up an angry tirade against Howards to be on his next show. Howards arranges a meeting with Barron’s ex-wife Sara Westerfeld to try and find a weakness in Barron’s armour. Westerfeld agrees to a contract with Howards in order to get Jack back and also bring down Howards.
So: lots of political wrangling given as long lecture-like rants, with angry cut-up phrases as prose. None of the characters come out of this particularly well, generally giving the impression that politics in America is filled with vicious characters who make their way through life by being nasty, lying and scheming. Mr. Spinrad seems to be a very angry young writer.
And as entertaining as this is, I can’t help feeling that there is little actually of any importance here. When you take away all the fripperies and the prose-stylings, there’s not a great deal of plot. I’m starting to see what others have claimed to be style over substance. 4 out of 5.
First page of the article. More cut-up stylings!
Article: Barbarella and the Anxious Frenchman by Michael Moorcock and Charles Platt
Another article written by Moorcock but filled with more of that cut-up art so beloved of current artists (and in this case by Charles Platt.) It is most definitely opinionated, a rant against the decline in standards in French SF. Why French SF? Well, (the yet-unreleased) Barbarella movie of course, which also gives a chance for Messrs Moorcock and Platt to decry that things in French SF are not as good as they used to be. Things are far too safe, too diluted, too… normal. As rants go, it’s quite fun. It’ll be interesting to see if the article gets a response or not (And where is our late, lamented Letters page?) 4 out of 5.
The Serpent of Kundalini by Brian W. Aldiss and C. C. Shackleton
After last issue’s positively odd installment, we continue with the Colin Charteris story. After seeing much of Brussels burn last month, god-like deity Colin Charteris returns to England. The story is mainly about the strange visions Charteris experiences on his return, as England has been affected by the drug bombs unleashed across Europe, though only slightly.
Whilst the descriptions are imaginative, the extract just feels like what I imagine is one long psychedelic trip and does nothing to change my view that this is still style over substance. Not quite as bad as last issue’s effort, but still relentlessly self-conscious. 3 out of 5.
The Square Root of Brain by Fritz Leiber
Photo illustration. Does it help explain the story? Perhaps…perhaps not.
Now here’s a name I’ve not seen around for a while, in British magazines anyway. I know that Moorcock’s a fan of Leiber’s work, so I can’t imagine much persuading was required to take up this story.
Rather clever and thoroughly scandalous, The Square Root of Brain satirizes pop culture and the insanity of modern life, juxtaposing the slight plot with dictionary quotations (!)
I did wonder if this was another example of American writers trying to “write New Wave”. It is not entirely successful – what is its point? – and yet shows that despite not being seen around much lately, Fritz has not lost any of his satirical bite. There were several places where the story just made me grin. I could see this one in a new collection of Dangerous Visions stories. 4 out of 5.
Article: Under the Sea with Hubert Humphrey by Hubert Humphrey
I must admit that at first glance I thought this title was a parody – you know, an attempt to be a riff on something like something like The Undersea World of Jacques Cousteau or Walt Disney’s Wonderful World of Color… but cynical old me, it wasn’t.
Instead, we get a political statement from the vice-president of the US dressed up as an article showing us the potential of oceanography and the need for international cooperation in future. Political angle aside, it is actually quite interesting, and shows that the seas have future potential. But it does feel a little at odds with the anti-establishment sentiment of much of the rest of the magazine. The gulf between this and Jack Barron could not be more apparent. 3 out of 5.
A Single Rose by John De Cles
Artist: James Cawthorn
Here's another name I’ve not seen here for a while, since Sanitarium in July 1966. I liked this allegorical one (unusually for me!), a story of a man whose attempts to create perfection involve an artificially created Unicorn, and a survey to determine what makes the perfect rose, only to find in the end that it is the idea of transience that makes things special. Quite well done, if a little introspective. 3 out of 5.
In Seclusion by Harvey Jacobs
Weird art for a weird story.
A story of two film stars who fall in love on-set and seeing a publicity campaign in the making are sent by their studio to a secluded abbey with no modern conveniences. The two enjoy the novelty at first but in the end they are attacked by a creature from the ocean. Lots of sexual talk and allegory, with what I assume is meant to be sparkling repartee, but in the end just feels grubby. Another example perhaps of the magazine trying to shock and show that it is more adult in nature than before. If you are engaged by talk of phalluses, seminal fluid and pubic hair you may like this one. Personally, I can’t see Elizabeth Taylor and Richard Burton doing this sort of thing. 2 out of 5.
Article: Book Review – Atrocities of the Love Slaves of Equanimity by John Sladek
This month’s Book Review seem to be another example of a writer more enamoured with their own writing than actually reviewing a book. There’s a review in there, to be honest, but it has to be deciphered from the writer’s love of his own voice. Sladek reviews Come Back, Dr. Caligari by Donald Barthelme (No, never heard of that one, either.) Despite all of the lyrical posturings, Sladek seems to quite like the book of fourteen stories, clever short stories “rich with references to Freud, high culture, pop culture, (and) existentialism.” All of which seem to fit nicely with the new New Worlds vision, even if I’m unlikely to ever think about this book again.
Summing up New Worlds
An issue that on balance I liked more than I disliked – I liked the Leiber, and thought the Moorcock & Platt article was an interesting touch – though there were elements that seemed a little overwrought. Nevertheless, it was good to have the magazine back, for all of its wayward meanderings.
As we approach the first anniversary of the shocking loss of the crew of Apollo 1, the success of the recent Apollo 5 mission reminds us that the spirit of Grissom, White and Chaffee lives on as NASA continues developing and testing the technology to make a manned lunar landing a reality.
Apollo 1's Legacy
Although the fire that engulfed Apollo 1 and killed its crew destroyed its Command Module, the accident took place on the launchpad during a launch simulation, and fortunately the Saturn IB booster intended to loft that mission into orbit remained undamaged. Because that AS-204 vehicle was the last Saturn IB with full research and development instrumentation, NASA decided that this rocket would be re-assigned to Apollo 5, the much-delayed first test flight of the Lunar Module – the spacecraft essential for successfully landing astronauts on the Moon – while manned Apollo missions continue on hold.
From LEM to LM
The spacecraft we now call the Lunar Module (LM) became part of the Apollo programme in 1962, when NASA decided to adopt the technique of lunar orbit rendezvous (LOR) for its Moon landing missions. First proposed in 1919 by Ukrainian engineer and mathematician Yuri Kondratyuk, the LOR technique uses two spacecraft that travel together to the Moon and then separate in lunar orbit, with a lander carrying astronauts from orbit to the Moon’s surface. The LOR method allows the use of a smaller and lighter lander than the large, all-on-one spacecraft originally proposed for Apollo, and also provides for greater flexibility in landing site selection.
An early diagram comparing the size of a lunar landing vehicle using the Direct Ascent method of reaching the Moon and a LOR lunar excursion vehicle
The version of lunar orbit rendezvous suggested to NASA by engineer John C. Houbolt called for a landing vehicle consisting of two parts: a landing stage, that would accomplish the descent from orbit and remain on the Moon’s surface, and an ascent stage that would carry the astronauts back to the main spacecraft in orbit. This design gave us the Command Service Module as the Moon orbiting spacecraft, and what was originally called the Lunar Excursion Module (LEM, pronounced as a word, not as the individual letters) as the vehicle that would land astronauts on the Moon.
Dr. Houbolt illustrating the main spacecraft needed for his Lunar Orbit Rendezvous proposal for the Apollo programme
In June 1966, NASA changed the name to Lunar Module (LM), eliminating the word “excursion”. My friends at the WRE tell me that this was because there were concerns that using “excursion” might make it sound like the lunar missions were frivolous, and so reduce support for the Apollo programme! Despite the official name change, the astronauts, as well as staff at Grumman, still call it “the lem”, which certainly feels easier to say.
Delays…Delays…
However, the two-stage LEM/LM has proved much harder to develop and manufacture than the contractor Grumman originally anticipated, because of the complexity and level of reliability required of the hardware. Originally, NASA planned for the automated test flight of LM-1, the first Lunar Module, to occur in April 1967, but the delivery of the spacecraft was repeatedly delayed: the two stages of LM-1 did not arrive at Cape Kennedy until late June last year.
The separately-crated stages of LM-1 arriving at Kennedy Space Centre on board a Super Guppy cargo plane. The stages were mated to each other four days later
A team of 400 engineers and technicians then checked out the spacecraft to ensure that it met specifications. The discovery of leaks in the ascent stage propulsion system meant that the ascent and descent stages were demated and remated multiple times for repairs between August and October. LM-1 was finally mounted on its Saturn IB booster on 19 November and a launch date was set for the latter part of January 1968.
LM-1, encased in its SLA, being hoisted up for mounting on its launch vehicle
Lift Off at Last! Although the launch was delayed for 10 hours when the countdown was held up by technical difficulties, Apollo 5 finally lifted off on 22 January 1968 (23 January for us here in Australia). The mission was designed to test the LM's descent and ascent propulsion systems, guidance and navigation systems, and the overall structural integrity of the craft. It also flight tested the Saturn V Instrument Unit.
Because they would not be needed during the Apollo 5 test flight, LM-1 had no landing legs, which helped to save weight. NASA also decided to replace the windows of LM-1 with aluminium plates as a precaution, after one of the windows broke during testing last December. Since the mission was of short duration, only some of LM-1’s systems were fully activated, and it only carried a partial load of consumables.
LM-1's "legless" configuration is clearly seen in this view of it during checkout at Kennedy Space Centre
The Apollo 5 flight did not include Command and Service Modules (CSM), or a launch escape tower, so pictures of the launch vehicle show it to look more like its predecessor AS-203 than AS-202, which tested the CSM. The Apollo 5 stack had an overall height of 180ft and weighed 1,299,434 lbs. The LM was contained within the Spacecraft Lunar Module Adapter (SLA), located just below the nose cap of the rocket. The SLA consists of four panels that open like petals once the nose cap is jettisoned in orbit, allowing the LM to separate from the launcher.
The Saturn IB worked perfectly, inserting the second stage and LM into an 88-by-120-nautical-mile orbit. After the nose cone was jettisoned, LM-1 coasted for 43 minutes 52 seconds, before separating from the SLA into a 90-by-120-nautical-mile orbit. NASA’s Carnarvon tracking station in Western Australia tracked the first six orbits of the mission, while the new Apollo tracking station at Honeysuckle Creek, near Canberra, followed LM-1’s first orbit.
Putting LM-1 Through its Paces
Since it had no astronaut crew, the LM-1 test flight had a mission programmer installed, which could control the craft remotely. The first planned 39-second descent-engine burn commenced after two orbits, only to be aborted by the Apollo Guidance Computer after just four seconds, as the spacecraft was not travelling at its expected velocity. Exactly why this occurred is now being investigated. Of course, if there had been a crew onboard, the astronauts would probably have been able to analyse the situation and decide whether the engine should be restarted.
Instead, Mission Control, under Flight Director Gene Kranz, decided to conduct the engine and "fire-in-the-hole" tests under manual control, as without these test firings the mission would be deemed a failure. The "fire in the hole" test verified that the ascent stage could fire while attached to the descent stage, a procedure that will be used to launch from the Moon’s surface, or in the event of an aborted lunar landing. It involves shutting down the descent stage, switching control and power to the ascent stage, and firing the ascent engine while the two stages are still mated.
Apollo 5 Flight Director Gene Kranz (right) with future Lunar Module crew Astronauts McDivitt (left) and Schweickart (centre) discussing LM-1's control issues
Both the ascent and descent engines were fired multiple times during the flight to demonstrate that they could be restarted after initial use. Eight hours into the mission, a problem with the guidance system did cause the ascent stage to spin out of control, but the vital engine test burns had been completed by then. LM-1 also demonstrated its ability to maintain a stable hover, and the guidance and navigation systems controlled the spacecraft's attitude and velocity as planned.
At the conclusion of the flight testing, the separated ascent and descent stages were left in a low orbit, with the anticipation that atmospheric drag would naturally cause their orbits to decay so that the craft would re-enter the atmosphere. The ascent stage re-entered and was destroyed on 24 January, but as I write the descent stage is still in orbit.
Another Step on the Road to the Moon
NASA considers that the LM performed well during its test flight, and have deemed Apollo 5 a success. One wonders now if the second unmanned test flight with LM-2, planned for later this year, will need to go ahead. NASA also plans to return astronauts to space with a test flight of the redesigned Command Module in September this year. Once that goal is accomplished, every part of the Apollo system will have been tested in spaceflight and it will finally be “Go!” for astronauts to shoot for the Moon. I can’t wait!
Lunar map showing the landing sites of all the successful Surveyor missions
So Long Surveyor!
As the Apollo programme powers forward, the last of NASA’s automated lunar exploration programmes is coming to an end, with Surveyor 7 now in operation on the Moon. The Surveyor project was developed with the goal of demonstrating the feasibility of soft landings on the Moon's surface, ensuring that it would be safe for Apollo crews to touch down in their Lunar Modules. The Surveyor landings have complemented the Lunar Orbiter programme (which drew to a close in the latter part of last year), which imaged the Moon from orbit, mapping the lunar surface and providing detailed photographs of many proposed Apollo landing sites.
Making It Safe for a LM Landing
Of the seven Surveyor missions, five achieved their objectives, returning valuable data and images from the lunar surface. Surveyor 1, launched on 30 May (US time) in 1966, was the first American spacecraft to soft land on the Moon (following the successful landing of the USSR’s Luna 9 on 31 January that year), returning 11,237 images of the lunar surface. Unfortunately, its successor, Surveyor 2, failed in September 1966, impacting onto the lunar surface when a malfunction of the guidance system caused an error in the mid-course correction as it travelled to the Moon.
Surveyor 1's panorama of the lunar surface, which captured its shadow, cast by the light of the Earth
Surveyor 3, which lifted off on 17 April 1967, was the first to conduct in-situ experiments on the lunar soil, using its extendable arm and scoop. The spacecraft also returned over 6,000 images, including the famous "Surveyors Footprint" shot, showing its footpad on the lunar surface. The probe had a lucky escape as it tried to land: a problem with its descent radar caused the descent engine to cut off late, resulting in the lander bouncing twice on the lunar surface before settling down to a final safe landing!
Surveyor 3's footprint and footpad on the lunar surface, showing how it bounced on landing. The extendable arm and scoop are visible on the left of the picture
Just three months later, in July, Surveyor 4 was not so lucky. After a textbook flight to the Moon, contact was lost with the spacecraft just 2.5 minutes before touchdown in the Sinus Medii (Central Bay) region and it crashed onto the lunar surface. It’s believed that the solid-fuel descent engine may have exploded.
Launched on 8 September, Surveyor 5 also encountered engine problems on descent to the lunar surface, with a leak in the spacecraft's thruster system. Fortunately, it survived to make a safe landing and returned over 20,000 photographs over three lunar days. Instead of a sampler arm, Surveyor 5 carried an alpha backscattering experiment, and had a bar magnet attached to one landing pad. It carried out the first off-Earth soil analysis and made one of the most significant finds of the Surveyor missions — that the Moon's surface is likely basaltic, and therefore suitably safe for human exploration.
Surveyor 5's alpha backscattering experiment, sometimes described as a chemical laboratory on the Moon
Surveyor 6 landed safely near the Surveyor 4 crash site in November 1967 carrying an instrument package virtually identical to Surveyor 5. The spacecraft transmitted a total of 30,027 detailed images of the lunar surface, as well as determining the abundance of the chemical elements in the lunar soil. As an additional experiment, Surveyor 6 carried out the first lift-off from the Moon. Its engines were restarted, lifting the probe 12 ft above the lunar surface, and moving it 8 ft to the west, after which it landed again safely, and continued its scientific programme.
Surveyor 7 – a Last Hurrah!
The successful completion of the Surveyor 6 mission accomplished all the goals that NASA had set for the Surveyor programme as an Apollo precursor. The JPL Surveyor team therefore decided that for the final mission they would aim for a riskier landing site, in the rugged highlands near the Tycho Crater. The engineers gave Surveyor 7 a less than 50-50 chance of landing upright due to the rough terrain in the area!
Tycho crater was the challenging landing site for NASA's last Surveyor mission
Launched on 7 January, Surveyor 7 is the last American robot spacecraft scheduled to land on the Moon before the Apollo astronauts. Its instrument package combines all the experiments used by its predecessors, in order to determine if the rugged terrain would be suitable for a future Apollo landing site.
During its first lunar day, the spacecraft’s camera has returned more than 14,000 images, including some views of the Earth! One of Surveyor 7’s innovations is the use of mirrors to obtain stereoscopic lunar photos. Laser beams directed at the Moon from two sites in the United States have also been recorded by cameras aboard Surveyor 7.
A view of the Earth captured by Surveyor 7's camera
Getting a Scoop
Surveyor 7’s versatile soil mechanics surface sampler is a key instrument on this mission. Designed to pick up lunar surface material, it can move samples around while being photographed, so that the properties of the lunar soil can be determined. It can also dig trenches up to 18 inches into the lunar surface to determine its bearing strength and squeeze lunar rocks or clods. The sampler is a scoop with a container which can be opened or closed by an electric motor. The scoop has a sharpened blade and includes two embedded magnets, to search for ferrous minerals and determine the magnetic characteristics of the lunar soil. So far, the moveable arm and scoop have performed 16 bearing tests, seven trenching tests, and two impact tests.
Only a few Surveyor 7 pictures are currently available, but this view of Surveyor 3 digging a trench into the Moon's surface shows how the scoop carries out this task
The scoop is mounted below the spacecraft’s the television camera so that it can reach the alpha-scattering instrument in its deployed position and move it to another selected location. In fact, the scoop helped to free the alpha-scattering instrument when it failed to deploy on the lunar surface. It has also been used to shade the alpha-scattering instrument and move it to different positions to evaluation other surface samples. During 36 hours of operation between January 11 and January 23, 1968, the sampler has performed flawlessly. Soil analyses have been conducted, as well as experiments on surface reflectivity and surface electrical properties.
Surveyor 7 is now “sleeping” through its first lunar night. If it survives this period of intense cold, hopefully it will continue to produce significant results during its next lunar day. But if it doesn’t, the scientists and engineers at NASA’s Jet Propulsion Laboratory are already describing the Surveyor programme as a “treasure house of information for landing a man on the Moon before the end of this decade”.
This has to be a fitting epitaph for any space mission.
I got a letter from Ted White the other day. Seems he's no longer assistant editor over at F&SF, which is a shame. Apparently, he was once under consideration for editor at Fantastic (and possibly Amazing) back when Celle Goldsmith (Lalli) left! Boy, would that have been an interesting tenure–certainly more interesting than what we got under Sol Cohen.
Anyway, keep reading, because this isn't the only time Ted's name will come up.
by Ronald Walotsky
The Colonies
Stranger in the House, by Kate Wilhelm
We've been seeing a lot more of Kate Wilhelm, lately, which is generally a good thing. Stranger seems as if it will be a fairly typical, if sinister, haunted house story. A middle-aged couple moves into a house in the country, a surprisingly good deal, to escape the hustle and bustle of the city after the husband suffers a heart attack. Immediately, the wife begins to suffer fainting spells and strange visions. A little research uncovers that, since 1920, the place has seen an inordinate number of deaths and inexplicable illnesses amongst its ocuppants.
Is it a vengeful spook? Radon poisoning? Actually, as we quickly learn, it's an alien in the basement. Not just any alien: this one was sent on a first contact expedition. The hope of its race was that they would get to see that transient moment when a species first makes the jump into space.
The problem is, said aliens are hideous, live in a toxic atmosphere, shed acid, and communicate via a telepathy that is about as conducive to human communication as an icepick in the forehead. How, then, can there be a meeting of the minds?
I love a good "first contact" story, and I appreciate that Wilhelm has created a truly alien being. What keeps this piece from excellence are a couple of factors. For one, it is overlong for what it does. More importantly, much of the story, particularly that told from the alien's point of view, is detached and told in past tense. This lack of immediacy in a story that deals with turbulent emotions puts a muffling gauze over the proceedings. I wonder, in fact, if the whole story might have been improved by only including the human viewpoint.
Three stars.
The Lucky People, by Albert E. Cowdrey
Why stay hitched to three channels on the boob tube when you can watch the cannabalistic mutants that prey on your neighbors from the comfort of your own picture window?
Notable for being the first mention of Star Trek I've seen in print science fiction, it is a cute but frivolous tale.
Three stars.
The Stars Know, by Mose Mallette
A young ad exec, graduate of Dr. Ferthumlunger's 40-week handwriting analysis course, is convinced that his boss, the comely Lorna D., is in love with him. How else to explain "the sex-latent capitals, the rounded n's and m's, the generous o's and a's, and the unmistakably yearning ascenders in late."
Never mind that the note which our hero has examined is an angry exhortation to get his work done on time.
The misunderstanding continues, with Lorna actually becoming infatuated with the exec, but said exec steadfastedly refuses to believe it, analysis of subsequent notes revealing (so he believes) that she isn't interested at all. Of course, he doesn't actually read the contents of the notes. He only looks at the handwriting.
What seems a silly story at first is actually, upon further analysis, an indictment of those who miss the forest for the trees: the mystics, numerologists, saucer enthusiasts, and what have you, who ignore the evidence and invent their own patterns to reinforce their beliefs. It's really quite brilliant satire!
Or…perhaps I'm reading too much meaning into the thing.
Three stars.
by Gahan Wilson
Aperture in the Sky, by Theodore L. Thomas
Thomas' essays are usually not worth the single page they are written on. This time, however, he's hit on a good'n: artificial satellites designed to occult radio sources for better measurement of their distance. It sounds rather brilliant to me.
Four stars.
From a Terran Travel Folder, by Walter H. Kerr
Less successful is this one page program, I think advising aliens on the joy of eating people. I read it a few times and did not find myself enjoying it.
Two stars.
He Kilt It with a Stick, by William F. Nolan
Then we hit the nadir of the issue. The author of Logan's Run offers up a tale of a man who hates cats and does horrible things to them until they get their inevitable, macabre revenge.
Not only is this story cliché in the extreme, but if I never read another account of cruelty to cats, it'll be too soon.
One star. For shame.
Wednesday, Noon, by Ted White
Quality returns with this short piece by Ted White. When the rapture comes, the music may not be heavenly in origin, but it'll be compelling, all the same. This story took a whopping three and a half years to be printed from the date of submission (latter 1964), but I'm glad it finally made it. White has a real knack for living in his characters, conveying their sensory experience and internal monologues with visceral effectiveness. Wilhelm's piece could have used his touch, I think.
It helps that White lives in New York, the setting of the story, and lived through that brutal summer when Martha Reeves' classic first hit the airwaves…
Four stars.
The Locator, by Robert Lory
Gerald Bufus, accountant, is meticulous to the extreme. He also has a hobby: tracking the visitations of flying saucers to ensure he can one day be present at a landing. Sadly, his overwhelming addiction to symmetry compells him to greet the alien ship at the exact center of their predicted arrival site.
The three human crewmembers of the first interstellar flight go mad in hyperspace, and presently, none are left alive aboard the vessel except the one robot steward, who mechanically goes through the motions of serving the dead humans.
The twist at the end is ambiguous: has the robot also gone insane? Or is he actually a fourth crewmember, who has retreated behind a fictional metal shell in his own kind of insanity?
Four stars.
To Hell with the Odds, by Robert L. Fish
I love "deal with the Devil" stories, and this one, about a washed-up golfer who bargains to win this year's Open, is great all the way up to the end…where it flubs the finish. The problem I have is the clumsy phrasing of his final wish (an attempt to get out of the deal, which of course backfires,) given that he had 18 holes to perfect it.
Three stars.
The Predicted Metal, by Isaac Asimov
The Good Doctor continues his series on the discovery of metals, this time recounting the creation of the Periodic Table. It's a fine piece, but I feel as if it was recycled from his 1962 book, The Search for the Elements.
Four stars.
The Veiled Feminists of Atlantis, by Booth Tarkington
The last is a 40-year old piece. Two scholars meet to discuss a legend of Atlantis in which the women not only win equality, but then fight a cataclysmic war with Atlantean men for the right to retain the distinction of their femininity–the veil.
Tarkington wrote the piece to poke a bit of fun at the war between the sexes that was waging in the 20s, whereby women had the temerity not only to demand the vote, but also to engage in male or female fashion and hobbies as they chose, and men were affronted by their cheek.
Interesting as an artifact, I suppose. Three stars.
Summing up
All in all, a decent but not outstanding magazine this month. And now onto something in an entirely different vein…
by Fiona Moore
At the outset of The Magical Mystery Tour, which premiered in black and white on Boxing Day but which was released in colour on 5 January this year, we are promised the “trip of a lifetime,” and, later on, we are assured that everyone is “having a lovely time.” Whether or not this includes the viewer is more open to question.
The Mystery Bus attempting to flee its critics.
The movie has the loose framing premise of Ringo Starr taking his Auntie Jessie on a Mystery Bus tour, in the company of the other Beatles, a few swinging hip types, an assortment of British pensioners who seem a little nonplussed by the proceedings, and The Courier, a Number Two figure who leads the tour assisted by Miss Winters and Alf the Driver. What follows is a series of short musical interludes featuring a selection of numbers from the eponymous album, interspersed with sketches that are a cargo-cult cross between At Last The 1948 Show and The Prisoner, which seem to miss the point of either.
There’s a sketch with a sergeant-major drilling the tour participants; a sort of school games’ day and car race around an airfield or test track (featuring Angelo Muscat, the Butler in The The Prisoner); a whirlwind romance between Auntie Jessie and a character named Buster Bloodvessel; a tent in a middle of a field that turns out to be bigger on the inside than on the outside. But no real sense of what all this is supposed to be saying to the audience.
Yes, but why?
The highlights of the film are definitely the musical interludes. “Flying”, when seen in colour, is actually rather beautiful (which is rather lost in the black and white version). There are also short films for “Blue Jay Way,” featuring George Harrison playing on a chalk-drawing piano, and “Fool on the Hill”, with Paul McCartney standing on, well, a hill. Everything really comes together, though, in “I Am the Walrus”, with the surreal costumes of the performers echoing the imagery of the song, and the Beatles all seem to be enjoying themselves. This is far from true of the other sketches, in which John and, in particular, George seem more than a little surly.
Everyone having a lovely time, apparently.
The film hit its nadir, for me, with a rather disgusting dream sequence of Auntie Jessie being served mountains of sloppy spaghetti by John Lennon in a restaurant, while the bus crew sit around half-naked drinking milk. Similarly peculiar was the decision to have a sequence where the Bonzo Dog Doo-Dah Band perform their song “Death Cab for Cutie” in a strip club complete with stripper, watched by George and John. And the movie more or less ends right there, with that sequence going straight into a 1950s Hollywood-musical-style production of “Your Mother Should Know.”
I’d say this is definitely one for Beatles completists more than anything else.
Two out of Five stars.
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As people who read my review of last year’s Orbit will recall, I loved Joanna Russ’ new fantasy hero Alyx the Adventuress. These stories combined a modern sensibility, great characterization and the kind of fun you would get from Howard or Leiber.
Needless to say then, I was extremely excited to learn we would be getting a new novel of Alyx’s adventures so soon afterwards. Trying to go into the book with as little foreknowledge as possible, I found it was definitely not the story I was expecting.
When we last left Alyx she was escaping Orudh and planning her next move. In the opening paragraph of Picnic on Paradise we are reintroduced to her:
“I’m sorry, ma’am, but I cannot believe you are a proper Trans-Temporal agent; I think-” and he finished the thought on the floor his head under one of his ankles… “I am the Agent, and My name is Alyx.
To understand what a sharp diversion this is, imagine picking up Robert E. Howard’s Conan the Conqueror and finding it opens in 1917 with Conan at the Battle of the Somme. A fascinating choice but also one that requires a lot of readjustment of expectations as well as explanations.
Eventually what we piece together is that while she was escaping by sea after robbing the Prince of Tyre, she was somehow brought to the future and has come to work for the transtemporal agency. Although she has learnt some elements and language of this future millennia and these weird new worlds, she is still largely a stranger.
What is continued from the previous installments is Alyx’s impatience for impractical people. Here it is the tourists she must shepherd across Paradise. They are all different representatives of this future, showing different facets of the time, but for Alyx they are all fools in one way or another, coddled by society and unable to survive without it.
In some ways this could be seen as a version of Montaigne’s Des Cannibales but it significantly improves upon it. Whilst the original uses cultural relativism as a means to critique contemporary society, Russ sets up two opposing societies as alien to us as each other: the ancient Mediterranean of Alyx and the highly complex future of the tourists, and compares them to make more complex points as well as building fascinating worlds.
It should not be thought as an old-fashioned kind of text at all, as it does not pull any punches. Instead, we have explorations of drugs, sex, religion, complex psychology, violence, humanity and much more. It is like all of society attempting to be distilled into one perilous journey.
I know it is only January but if this isn’t to be my favourite novel of 1968, something really special will have to come along in the next 11 months.
A very high Five Stars
by Victoria Silverwolf
Short and Not So Sweet
I recently came across a trio of new works of speculative fiction that don't require a lot of time to read. In fact, I was able to finish all three books in one day. Each features a fair amount of disturbing material, even though one is a comedy, one is intended for younger readers, and one is a action-packed thriller. Let's take a look at these brief, dark-tinged novels.
I use the word new loosely for this satiric Russian novella from an author who died in 1940. It was actually written in 1925, but has never been officially published in the Soviet Union. (I understand that copies of it have been circulated in the underground form known as samizdat.) Michael Glenny's translation is its first appearance in English, I believe.
Cover design by Applebaum & Curtis, Inc., according to the back cover, but the artist remains anonymous.
In classic horror movie fashion, a Mad Scientist adopts a homeless pooch for the bizarre purpose of transplanting a dead man's testicles and pineal gland into the animal's body. (The detailed descriptions of surgery are the gruesome parts of the book. Dog lovers beware.)
The mutt changes into a man, of a particularly vulgar sort. The canine fellow claims to be a loyal Communist, turning against the aristocratic scientist and siding with the bureaucrats who want the doctor to give up several rooms in his apartment.
It's obvious that the author is attacking the Bolshevik revolution in his portrait of the dog-man and the other collectivists. He also satirizes quack medicine of the time.
The narrative alternates from first person, in the dog's point of view, to third person, sometimes in a single paragraph. Some readers may find these sudden transitions jarring, although otherwise the book is quite readable. (Kudos to the translator.)
Despite the blood-soaked scenes of surgery and the savage satire of Communism, much of the novel is pure slapstick. There's an extended sequence in which the newly created man chases a cat, leading to the flooding of the apartment. Overall, the book is both amusing and thought-provoking.
Next we have an unusual fantasy for young people. I think this is the author's first book.
My sources suggest that this art is by John Holder.
We jump right into a scene of nail-biting suspense. A sixteen year old boy and his kid sister are trapped on a small rock in the sea off the coast of England. Folks with spears are ready to kill them if they make it back to shore. The tide is rising, ready to drown them.
The boy got hit on the head by one of the mob and has amnesia. This gives the girl a good excuse to tell her brother (and the reader) what's been going on for the last five years.
A mysterious something made the inhabitants of Britain hate machines. They've gone back to a medieval way of life. The boy was caught messing around with a motorboat, and his sister was seen drawing pictures of machines. The fanatical locals are ready to execute them for witchcraft. (Apparently the anti-technology effect has worn off on them.)
The boy is a weathermonger; that is, he can control the weather with his mind. (Every village in England has one, it seems. I suppose it's a side effect of the machine-hating phenomenon.)
He uses this power to create a fog. The siblings escape, make their way to the forbidden motorboat, and reach France. (The anti-technology effect is limited to Britain.)
That's just the start of their adventures. The French authorities, seeing that they are immune to the phenomenon, send them back to track down its source. Thus begins a wild odyssey to Wales, making use of a snazzy 1909 Rolls Royce Silver Ghost stolen from a museum. (I get the feeling the author is in love with that classic car.)
It's an exciting book, with one heck of a climax. The explanation for what's going on strains credibility, even for fantasy. The story is too intense for very young readers, I think, but it should be fine for teenagers. Adults who don't mind reading so-called juveniles should enjoy it as well.
The cover makes it clear that this is the start of a series. The name of the series, and the illustration, suggest that we're in for the kind of SFnal sword and sorcery yarn you might find in an old copy of Planet Stories. That's pretty accurate, but there's a bit more to it.
Cover art by Jeff Jones, who also provides a couple of interior illustrations.
The author doesn't waste any time. In just a couple of pages, a starship is destroyed by a weapon launched from the planet it's orbiting. A scout ship carrying two guys crashes on the planet. A few pages later, one of them is dead.
Let's catch our breath and see where we are. See the tiny black dot in the middle of the left side of the map? That's where the scout ship landed. The sole remaining hero won't get very far from that spot by the time the book ends. He just travels a bit to the northwest, not even reaching the coast. There are a few references to other places on the map, but the vast majority of the rest of the planet is going to have to wait for other volumes in the series.
The map art is not credited, but might be by Jeff Jones as well.
If you think the geography is complicated, wait until you hear about the population. There are humans of many different cultures present, for reasons explained later. There are at least four species of aliens, broken up into subgroups. The aliens who give the book its title, for example, are divided into the Old Chasch, the Blue Chasch, and the Green Chasch.
Complicating matters is the fact that some humans are (pick one) servants/slaves/worshippers/devotees/imitators of the various aliens. One such person is the book's most amusing character.
With all this going on, we still have a nonstop action-packed plot, as our hero sets out on a seemingly hopeless quest to get back to Earth. Along the way, he meets the traditional beautiful princess, whom he has to rescue from captivity no less than three times.
(At this point, I had to wonder if the author was poking subtle fun at the kind of work produced by Edgar Rice Burroughs and Robert E. Howard.)
The story is full of violence and, frankly, kind of puerile. What distinguishes it from a typical thud-and-blunder yarn is the extraordinarily intricate setting. The author is a master of creating exotic cultures, and that's a lot more interesting than the endless killing and corny plot.
If the male characters are two-dimensional, the females are one-dimensional. The princess exists only to be stunningly beautiful, get kidnapped, and fall in love with the hero. There's a cult of priestesses who hate men and loathe attractive women. There are no other female characters of any importance, just servants and the like.
Taking a break from her various long-running series, Andre Norton, one of the most prolific science fiction novelists, has produced a new one-off. It's a simple, dare I say, old-fashioned tale wherein ex-GI Ray Osborne gets inadvertently whipped into the distant past when he stumbles across an experimental time travel beam. Emerging into the primeval forests of "The Barren Lands" that will one day be North America, he is quickly captured by a party of Atlanteans (as in from the lost continent of Atlantis) and turned into a galley slave. Fortunately, he is able to make his escape, with the help of a fellow prisoner named Cho. The two, now sword-brothers, secure passage on a warship commissioned by Atlantis' rival, the Pacific continent-nation of Mu. On said ship, Ray and Cho make their way to the land of the Sun, where Ray is elevated to the aristocratic rank of Sun-born and welcomed.
But Ray is in for more than he bargained, as he is imbued with a subconscious geas to infiltrate the perfidious former colony of Atlantis and stop their nefarious plan to bring in other-worldly demons, their doomsday weapon in a cold war about to turn hot…
Operation: Time Search is all very Burroughsian in its setup and execution, up to and including the pseudo-scientific, modern era bookends (that do not add much to the book save padding). It's essentially riproaring action from beginning to end, and Norton delivers it competently. There are also agreeable relationships between the sword-brethren Ray and Cho, as well as, later in the book, Ray and a buccaneer captain named Taut.
This is a peculiarly shallow book, however. The Murians are portrayed as universally good and just (even when they commit actions that are not so nice, as in making Ray an unwitting weapon). The Atlanteans are foul in every respect. This could be fine–after all, when has Conan been subtle? But the writing is peculiarly sparse, almost oblique, when describing the many visceral horrors and foes of this bloody world, almost as if Norton were censoring herself (or perhaps she was censored after the fact). An encounter between Roy and "The Loving One", a gruesome Lovecraftian menace, in particular suffers for this.
Plus, I was sad that the potentially interesting Lady Ayna, captain of a Murian warship, essentially disappears shortly after her introduction. The saintly Lady Aiee, Cho's mother, is not nearly so compelling; in any wise, she is gone halfway through the book, too. Really, there just isn't a lot to become attached to in this book: Ray isn't a good enough character, and the setting is too one dimensional.
All in all, it felt like Norton was just going through the motions on this one. Three stars.
Until now, the protests and unrest have been confined to the bigger cities, particularly West Berlin. My hometown of Bremen did have its share of protests, but those were mostly just a few dozen people standing around on the market square, holding up placards. Though protests are getting bigger even here. On the day before Christmas, there was a protest against the war in Vietnam of several thousand overwhelmingly young people outside the US general consulate.
Right now, however, Bremen is seeing the biggest protests since the Bremen Soviet Republic fifty years ago. And for once, those protests are not against the war in Vietnam or the West German emergency laws or a visit of the Shah of Persia or former Nazis in positions of power, but about something far more mundane, namely an increase in bus and tram fares from 60 to 70 Pfennig for single tickets and 33 to 40 Pfennig for group tickets popular with students and apprentices. On the surface, this increase seems modest. However, for students, apprentices and young people in general who neither have cars nor a lot of money and rely on public transport to get around the city, even a small fare increase is a big problem.
The tram protests started small on January 15 with approximately fifty students of several Bremen high schools protesting the fare increase on the Domsheide square, one of the main tram traffic hubs in the city center. When the protest was ignored, the students decided to stage a sit-in on the tram tracks. The police removed the students, whereupon the protest continued outside Bremen central station – another major traffic hub – where other young people joined in.
Protesting youngsters on the Domsheide square
Police officers face teenaged protesters on Domsheide
Protesting students stage a spontaneous sit-in on the tram tracks.
In the following days, the protests continued to grow. On January 16, there were roughly 1500 young people staging a sit-in on the tram tracks, holding placards with slogans like "70 Pfennig – Lieber renn' ich" (70 Pfennig – I'd rather walk). The initial protesters had been high school students, but by now they were joined by students of the technical and pedagogical colleges and apprentices of various local companies. The protest managed to bring tram traffic in Bremen's city center to a complete halt with a backlog of trams stretching all across town.
Student leaders speak to the protesters
Student leader Christoph Köhler addresses the protesters.
Young protesters hold up a banner saying "70 Pfennig – I'd rather walk"
More placards. One protester announces that he will henceforth go by bike, while another declares "Avoid the tram – 70 Pfennig is crazy".
And the protest was still growing. The next day, there were 5000 young people protesting and blocking the tram tracks to the point that the public transport company BSAG suspended all tram traffic across the entire city.
Police officers stationed on the Domsheide square.
Bremen's chief of police Erich von Bock und Polach, who was a Colonel in the Waffen-SS before he reinvented himself as a member of the Social Democratic Party, proved that he had learned nothing whatsoever from the tragic events in West Berlin last June and ordered the Bremen police to attack the protesting students with truncheons, batons and water cannons. Hereby, the police not only managed to beat up several innocent bystanders, but the resulting unrest also caused damage to twenty-one tram cars and fourteen busses.
Sadly, we have seen pictures like these all too often. Police officers beat up a protester.
A police water cannon attempts to blast protesters on Bremen's market square, but only manages to hit the stall of the Bürgerpark tombola and the Roland statue.
A police water cannon blasts protesting students in front of the St. Petri cathedral, whose rector supported the protesters. Note the trams in the background.
Two young protesters face off against water cannons and are clearly loving every minute of it.
The police arrest a very dangerous protester who appears to be fourteen or fifteen at most.
Police officers drag off a protester and chase a very dangerous kid on a bicycle.
The editor of this student newspaper thought that marking his car as "press" would protect him from police violence, but the police officers dragged him out of the car anyway.
This protesters holds up a placard asking the police not to beat up protesters, but negotiate, sadly without success.
Protesters hold up placards decrying police violence.
Chaos on the streets of Bremen
And still the protests grew. The workers of the AG Weser shipyard and the Klöckner steelwork, the two biggest companies in Bremen, employing thousands of people, many of whom rely on public transport, declared their solidarity with the protesting students and apprentices. By January 18, twenty thousand people were protesting in the city center.
By January 18, the protest had grown to twenty thousand people and the protesters are no longer just teenagers.
A representative of the metal workers' union speaks to the protesters.
The city was in utter chaos by now and the Bremen senate held an emergency meeting. Thankfully, cooler heads than the noxious chief of police von Bock und Polach prevailed and so Bremen's new mayor Hans Koschnik, who has only been in office since November, met with representatives of the protesters in the townhall, while the protests were still going on outside and threatened to boil over into violence again.
Bremen's new mayor Hans Koschnik has only been in office since November and really deserves better.
The police has cordoned off the area around the townhall to allow members of the city parliament to attend the emergency meeting.
An unlikely heroine emerged in 54-year-old Annemarie Mevissen, deputy mayor and senator for youth, sports and education. Mrs. Mevissen left the relative safety of the townhall and went out to talk to the protesters directly. On the Domsheide, where the protests had begun four days earlier, Mrs. Mevissen climbed onto a crate of road de-icing salt, grabbed a megaphone and spoke to the protesters, explaining why the fare increases were sadly necessary, but also expressing sympathy for the protesters. Annemarie Mevissen's speech as well as the meeting with Mayor Koschnik did the trick and the protests gradually ceased. As of today, trams and busses are mostly running again.
Senator for Youth, Sports and Education and deputy mayor Annemarie Mevissen speaks to the protesters to express sympathy and call for calm.
Annemaire Mevissen is a remarkable woman. Since she also is Senator of Sports, she is showing off her ball kicking skills while meeting with young football players.
By chance, I was shopping in the city center on the second day of the protests. I could still get into the city by tram, but by the time I wanted to go home I had to walk several kilometres to where I had parked my car. However, I still found the time to stop at my favourite import bookstore to peruse their spinner rack of English language paperbacks.
The Return of the Dynamic Duo: The Swords of Lankhmar by Fritz Leiber
Fritz Leiber's delightful pair of rogues, Fafhrd and the Gray Mouser, have had a troubled publication history. They debuted in the pages of Unknown, Astounding/Analog's fantasy-focussed sister magazine, almost thirty years ago. After Unknown's demise in 1943, Fafhrd and Gray Mouser were left adrift, until they finally found a new home in Fantastic under the editorship of Cele Goldsmith Lalli. However, with the sale of the Ziff-Davis magazines to Sol Cohen, the appearances of Fafhrd and Gray Mouser in the pages of Fantastic became scarce. It seemed the dynamic duo was homeless once again, unless they shacked up with Cele Goldsmith Lalli over at Modern Bride magazine, that is.
So imagine my joy when I spotted the brand-new Fafhrd and Gray Mouser adventure The Swords of Lankhmar in the spinner rack of my trusty import bookstore. Nor was this adventure short fiction, like the duos' previous outings, but a full length novel. So of course I had to pick it up, even if I had to carry it five kilometres through the city, dodging protesters and aggressive police officers.
The story
Fafhrd and Gray Mouser return to Lankhmar, only to find themselves first attacked and then hired by Lankhmar's overlord Glipkerio Kistomerces to escort a fleet of grain ships to a neighbouring city. The fleet's cargo is a gift to Movarl of the Eight Cities in exchange for some help with a pesky pirate plague. Also aboard the grain ships – and another gift to Movarl – are the Demoiselle Hisvet, daughter of Lankhmar's wealthiest grain merchant, her maid Frix and Hisvet's twelve trained white rats. The ship's captain isn't happy about the presence of the rats, because rats and grain don't mix. Meanwhile, both Fafhrd and Mouser are fascinated by the Hisvet and her maid.
It does not take long for trouble to find Fafhrd and Mouser, who soon find themselves fighting off monsters, pirates and rat attacks. The two rogues also have their hands full with Hisvet and Frix. Luckily, they get some help from Karl Treuherz, a German-speaking time-travelling hunter capturing monsters for Hagenbeck's Zeitgarten. Karl Treuherz (his last name means "true heart") is a delightful character, particularly if you're German and can understand not only his dialogue in flawless German (kudos to Mr. Leiber), but also understand that Hagenbeck's Zeitgarten is a riff on Hagenbecks Tierpark, the famous Hamburg zoo, which apparently will open a time- and dimension-travelling dependency in the future. Cover artist J. Jones clearly likes Karl Treuherz, too, and put him on the cover.
The distinctive main entrance of Hagenbecks Tierpark in Hamburg. So far, they don't yet display alien monsters, but it's only a matter of time.
Something smells of rat here
If the story feels a little familiar, that's probably because it is. For the first half of The Swords of Lankhmar appeared under the title "Scylla's Daughter" in the May 1961 issue of Fantastic. That novella ended on a cliffhanger with the treacherous Hisvet and Frix escaping aboard one of the ships, leaving Fafhrd and Mouser marooned.
Fantastic's cover artist clearly liked Karl Treuherz as well.
The novel follows the two ladies as well as Fafhrd and Mouser back to Lankhmar, where even more intrigues await. For sinking a fleet of grain ships was just the start for Hisvet and her twelve trained rats. It turns out that Hisvet and her father are members of a race of intelligent rats, who live in Lankhmar Below and want to take over the entire city. Mouser shrinks himself down to rat size to spy on them, only for the mad overlord Glipkerio to ignore his warnings in favour of building a contraption that may or may not send him to a parallel universe. The way of defeating the rat invasion is as obvious as it is ingenious by using the rats' hereditary enemy against them.
The Lankhmar Below scenes were my favourite parts, probably because as a kid, I envisioned thumb-sized beings, both humans and animals, who inhabit a parallel city in the sewers, basements and walls of our world. In order to cross between the two worlds you needed a magical shrinking potion. Reading Leiber's descriptions of Lankhmar Below felt as if he had reached into my mind to bring my own fantasy world to the page. Or maybe there really is a parallel world of intelligent rodents and both Fritz Leiber and I somehow stumbled upon them in early childhood.
My imaginary parallel world of little people and animals sprang from the collection of small figures kept in this cookie tin featuring a picture of the Cologne Cathedral, hence I called them "church box people".
An ode to interracial and interspecies romance
Because this is a Fafhrd and Gray Mouser story, there also are plenty of romantic entanglements. Mouser falls for Hisvet and finds himself wondering if she's human or rat underneath her floor-length gown and if it even matters to him. Fafhrd prefers Frix, but Hisvet likes Frix, too. Furthermore, Mouser is fascinated by Reetha, a maid at the overlord's palace who is completely hairless, while Fafhrd starts a relationship with Kreeshkra, a ghoul with transparent skin and flesh who is basically a walking skeleton.
Over the past few years, the amount of sex in science fiction and fantasy has been creeping upwards, as the sexual revolution makes it possible to write about previously taboo subjects. This is not necessarily a good thing, since some writers feel the need to foist sexual fantasies that had better remained private upon the unsuspecting reader – see Piers Anthony's Chthon or John Norman's Gor books. Thankfully, Leiber does not go this route, even though there is quite a bit of sexual content, including sexual content of the more unusual sort, in The Swords of Lankhmar. However, nothing here is even remotely as prurient as Chthon or the Gor books. Instead, Leiber's message – even spelled out at one point – is that love is love, no matter the gender, race or species of the participants. And indeed, none of the women Fafhrd and Mouser become involved with in this story are in any way standard love interests. Frix is a black woman, Reetha's hairlessness does not match any classic beauty standards, Hisvet may or may not be part rat and Kreeshkra is essentially a walking skeleton. Furthermore, there are several not so subtle hints that Hisvet and Frix are in a romantic relationship as well.
All in all, The Swords of Lankhmar is a thoroughly enjoyable fantasy adventure and a welcome return to the world of Nehwon and its most famous rogues. However, the plot meanders a bit, particularly in the second half. The genre that Robert E. Howard pioneered in the pages of Weird Tales almost forty years ago and that Fritz Leiber named sword and sorcery works best in the short form. Almost all of Howard's tales about Conan the Cimmerian or Kull of Atlantis, C.L. Moore's adventures of the medieval swordswoman Jirel of Joiry, which I hope will be reprinted eventually, as well as Michael Moorcock's stories about Elric of Melniboné and all previous Fafhrd and Gray Mouser stories have been novellas and novelettes. A genre that focusses on action and adventures thrives best in the short form and tends to meander at novel length, a problem that's also apparent in Robert E. Howard's sole Conan novel, The Hour of the Dragon, recently reprinted as Conan the Conqueror.
It’s hard to contain the joy that this episode brings to my heart. I’m a sucker for gangster films, like “Ocean's Eleven” and “Bonnie and Clyde”, but I have to admit, I’m always wary when a film does time travel. Period pieces tend to get things wrong one way or another, but “A Piece of the Action” somehow gets it all wrong in exactly the right way. This episode is chock full of amusing interactions that will engage you if for no other reason than it being delightfully fun.
Earth-like alien planets with humanoid populations have awkwardly made their way into Star Trek (e.g. "Miri", "A Taste of Armageddon"). This time, we finally get a plausible explanation for one. In this week's episode, the Enterprise is ordered to report to Sigma Iotia II. The spaceship Horizon went missing about 100 years earlier and is suspected to have contaminated the culture of the planet. Kirk, Spock, and McCoy beam down to the planet’s surface to meet with a Mr. Oxmyx to see what they can do about the contamination.
Let the contamination begin!
They are greeted by armed men wielding Tommy guns in an old-fashioned city suspiciously similar to America in the 1920s. Our landing party is escorted to see Oxmyx and discover that the Horizon crew left an old Earth book called “Chicago Mobs of the Twenties” on the planet. It was mentioned that the Iotians are imitative, which would account for their desire, given a blueprint, to emulate our past. It explains the culture and style, but it's clear the mimicry is skin-deep, which makes sense if they only have one book to go on. For example, during their negotiations, Oxmyx haphazardly shoots billiard balls around the table, and in the next scene when the henchmen are playing poker, it’s not any version that I’ve ever seen. It’s convincing until it’s not, but it’s convincing because it’s not.
"Don't tell me how to play Old Maid!"
Kirk interrupts their game to show them fizzbin (a fictitious game in which Kirk improvises the rules). It’s so absurd that he contradicts himself while explaining the rules of the game. Do you want a third Jack or not? Only Kirk knows. While the henchmen are distracted, Spock and McCoy clobber their captors and successfully escape to the radio station. Kirk decides to split off to find Oxmyx and is captured by Krako’s men. Typical.
Krako, Boss of the south side territory, is seen awkwardly throwing darts over his shoulder before Kirk enters, escorted by Krako’s men. He attempts to negotiate a deal with Kirk that would make Krako top Boss. Kirk isn't necessarily opposed; his aims aren't actually that different from that of the Iotians: Each Boss wants to take enough territory to become top Boss and Kirk thinks a unified government is a good idea, too. The difference is method–Kirk wants negotiation to determine the top Boss, not war. The deal falls through, of course. Krako doesn’t seem like the type to negotiate, stating that, “the book tells us how to handle things.”
A wild series of events ultimately gives Koik the perfect excuse to play a hunch. If you can’t beat ‘em, join ‘em. Koik and Spahck don the local garb and comically make their way back over to Krako’s place. The deal is that the Fed is takin’ over and he’s offered a piece of the pie, but little does he know, Koik’s got other plans. They put the bag on all the mob bosses while Krako’s on ice, ya see. Koik shows a small display of power and negotiates a deal to have Oxmyx be the head of the Syndicate with Krako as his lieutenant. The Federation gets a 40% cut.
What happens when you mess with the Federation.
This episode gives us a lighthearted look at the mob and a unique perspective on how an alien species might mimic a culture. Without minor details to guide them, it’s understandable that they wouldn’t know the rules to 9-ball, poker, or darts. Shatner’s Shatnerisms played well in this setting, and it was fantastic to see Spock have every logical reason to not object to Kirk playing a hunch. Not only that, but he gets to deliver the best line in the episode (adapted to title this article). The supporting cast was wonderful, and I’ve got no beef with this episode.
Five stars.
Against the Odds
by Lorelei Marcus
I will be the first to admit that, despite all it accomplishes, Star Trek has some major recurring flaws. Any show, particularly one that presents a world technologically beyond anything we can understand today, requires a modicum of suspension of disbelief. Such suspension becomes tested as increasingly outlandish claims are thrown around by the characters (particularly our beloved Captain Kirk) and such theories become the basis of the solution for an entire episode. Think Kirk divining the original purpose of the Doomsday Machine, or Jack the Ripper's ghost haunting across space-time (seriously THAT'S the most logical explanation for a series of interplanetary murders?) Sometimes the setup itself can destroy one's immersion, like "Miri" beginning with a planet completely identical to Earth. Or maybe it's a contradiction of preestablished rules in the universe that breaks an episode; Kirk seems to conveniently forget about the Federation's noninterference clause in "The Apple" and "Return of the Archons".
"A Piece of the Action" does everything I've mentioned above, but it does it right. I had my doubts when I first saw the preview for this episode. The Tommy guns and pinstripe suits made me expect another time travel jaunt like "City on the Edge of Forever". Instead, the explanation for the 20s gangster background is quite reasonable and SFnal: a hundred years ago the Federation tampered with a preindustrial planet, and the society of that planet has been modeled around the information the Federation left for them, including a textbook on gangs in the twentieth century. How concise and satisfying an explanation! And it also provides reason for why the Federation later implemented the noninterference clause – to avoid situations like this.
Imagine what they might have found if the Horizon had left the Bible…
This is the cue for Kirk, in his cowboy Kirk fashion, to decide that the structure of the society is not up to his personal moral standards and therefore he has the right to change it. Except this time it makes sense. As Kirk explains the episode, the anarchist state of this planet is the Federation's fault, and in this special case the noninterference clause has limited application because they have to fix the damage they've caused.
Even then, they try to minimize contact between the natives and Starfleet's advanced technology to allow the society to progress and mature on its own course. This has the added bonus of leading to some rather amusing fistfights.
Finally, while the solution of the episode does rest on Kirk's hunch, this too is set up in advance. Kirk both consults the ship's computer and Spock to suss out a logical course of action to save the planet. Only when both sources fail to give him answers does he decide to act on instinct instead. And when he finally carries out his plan, it actually makes sense! He manages to unite all of the gangs into a central government by posing as a larger, more threatening authority. All it takes is Shatner's progressively more dramatic Chicago accent.
I couldn't give this episode higher praise. It elegantly evades the pitfalls of Star Trek while also telling an engaging, funny, and science fiction story.
Five stars.
Embracing the Absurd: A Motto
by Andrea Castaneda
Truth be told, I had a difficult time formulating my thoughts for this episode. At first, I wanted to discuss the themes of authoritarianism. Then I was tempted to look at the governmental structures of a “lawless” society. But the more I thought back on the episode, the more I realized I was overthinking it. “A Piece of the Action” had me laughing with delight rather than putting me in deep thought. And perhaps that was the intention: a lighthearted way to play “cops and robbers” through the world of Star Trek. But even if one can peel back the layers, one can glean a simple lesson: when you find yourself standing in absurdity, embrace it.
First and foremost, I have to commend the writers for playing to Shatner’s strengths. From the comically over the top accent to donning a pinstripe suit, you could tell Shatner was having a gas the entire time. If I were a betting woman, I would wager good money that he was bouncing up and down in his chair as he read the script. Spock, meanwhile, did an excellent job at playing the “straight man” to Kirk’s ostentatiousness. His rigid and awkward attempts at playing a mobster not only highlighted how ridiculous the situation was, but also gave us some great deadpan deliveries.
As for the story itself, well, we’ve established how absurd the premise is. In fact the show explicitly states that there are no logical solutions out of this, shown when Spock goes through his various computer simulations. So, what can the crew of the Enterprise do? The only “logical” thing: outdo the absurdity. And that’s where the episode shines.
"What's the computer suggest, Spock?" "I've…got…zilch."
A mobster henchman foreshadows the concept at the start of the episode, telling Kirk, Spock, and McCoy “that innocent act don’t work on me.” And as predicted, their attempts at peaceful diplomacy only get them into more trouble. But their luck starts to turn when Kirk realizes the mobsters, in all their bluster and moxie, are pretty easy to manipulate. Playing to their sense of stubborn pride, he makes up a card game and flatters them enough to get them to drop their guard. When dealing with the bosses, he learns to come down to their level, framing concepts like taxes into terms they understand. Finally by the end of the episode, Kirk has smooth talked his way into becoming the head honcho of this cartoonish cabal of bosses and wise guys. It’s ludicrous, but still plausible enough to work.
This episode could have very easily become inane, puerile, and flat out stupid. But the self awareness from the writers and actors alike, combined with Shatner’s enthusiasm, gave it a charm that had us laughing along with them the entire way.
If I were one for clichés, I could say that embracing absurdity is a lesson we all can benefit from from time to time. But being realistic, I would say the writers wanted a palate cleanser for what appears to be a much heavier episode next week. We’ll see. In the meantime, I’ll be rummaging through my closet to see if I have anything pinstripe.
Four stars.
Pinch-hitting
by Gideon Marcus
Last week, I noted that the usual show runners had gone AWOL, to the detriment of the episode's quality. This week, I was made trepidatious by the unknown names "David P. Harmon" (writer) and "James Komack" (director). Moreover, the previews had led me to believe that this was going to be another silly time travel episode.
In fact, what we got was not only a thoroughly entertaining second-contact story, but one of the best made episodes of Star Trek we've seen in a while.
The editing and cinematography is some of the crispest and original we've seen to date. There's nary a flat moment, thanks to the quick cutting and innovative camera wrangling. Even the music, which I think was entirely from the library, fit the episode to a "T" – from the lilting strains lifted from "The Trouble with Tribbles" to the bombshell introduction tune from "Mudd's Women".
The director did an excellent job of reining in Mr. Shatner this time around. While many of his favorite tics were on display, they did service in differentiating "Koik the Boss" from "Kirk the Captain." And while Shatner often shone, he did not steal the scene.
Part of that was the snappy writing that put truly funny and effective lines in the mouths of Bones, Spock, and Scotty. Part was the performances Komack elicited from his stars. Even Uhura, though she gets very few lines, is memorable; the smile she gets when she realizes what Kirk has planned for Jojo Krako is just delightful.
Speaking of which, how about those guest stars? Anthony Caruso (Bela Oxymyx) is an old hand, of course, and Vic Tayback, who is everywhere these days, and who does a creditable impression of George C. Scott in The Yellow Rolls Royce, is fantastic as Krako.
George C. Tayback
Finally, the sartorial touch of giving each gang's henchmen different headgear (fedoras for Oxmyx, straw hats for Krako's, bowlers for Tepo's) was brilliant.
Five stars!
This week, the Enterprise will be fighting the paramecium of doom!
Join us tomorrow at 5:00 PM Pacific (8:00 Eastern) or at 8:00 PM Pacific (11:00 Eastern)!
A few weeks ago, President Johnson signed into effect the Public Broadcasting Act. Its purpose, among other things, is to turn a decentralized constellation of educational stations and program producers into a government-funded network. It's basically socialism vs. the vast wasteland.
Given the quality of programming I've seen produced by National Education Television, particularly on independent station KQED-San Francisco (e.g. "Jazz Casual" and "The Rejected"), I am all for this move. Indeed, I've recently come across a show that has really sold me on public television.
NET Journal is a series on political matters of the day. In December, they had a program that showed the results of a week-long workshop in which 12 affluent young men and women of a multitude of ethnicities lived together and discussed their prejudices. What they determined was surprising to them, and maybe to us. As we saw in the film Guess Who's Coming to Dinner, even in the most bleeding heart liberal, there is prejudice; and it's not just directed from whites to minorities.
This week, we caught an interview with four journalists in Saigon. Recently, LBJ and General Westmoreland have been cheerleading the effort in Vietnam, saying that the three-year commitment of half a million troops is bearing fruit. The South Vietnam-based journalists dispute this rosy view. They say progress has been slow, that the South Vietnamese army is hopelessly corrupt and must be reformed from the head down if it is to operate effectively without American support, and that we are not engaged in "nation-building" because there is currently no nation. The elections are meaningless so long as there be no real choices to be made, so long as bribes and payoffs accomplish more than the rule of law.
Withering stuff. Next week, the program will be on draft-dodgers.
On the small page
Galaxy Science Fiction is also an exellent, long-running source of information and entertainment. This month's issue is a particularly good example.
Anderson has established a reputation for producing some of the "hardest" SF around, laden with astrophysical tidbits. On the other hand, his quality varies from sublime to threadbare. Luckily, his latest novella lies far closer to the former end of the scale.
Tragedy takes place in what appears to be the far future of his Polysotechnic League history. The loose interstellar confederation of planets became an empire and subsequently went into decline a la the worlds in H. Beam Piper's Space Viking universe and Asimov's Foundation setting. I really like these "after the fall" stories of folks trying to patch a polity back together, maybe better than it was before.
by Gray Morrow
This particular story is the tale of Roan Tom, Dagny, and Yasmin, the crew of the merchant-pirate Firedrake. Their ship is in desperate need of repairs, and the only planet within range of the married trio is a Mars-sized world around a swollen orange sun. Luckily, said world was once a human colony of the Empire and thus may have the resources needed to fix a starship.
Unluckily, the planet has been recently plundered by pirates, and the inhabitants do not take kindly to strangers–especially ones that call themselves "friends."
There's a lot to like about this riproaring tale of aerial maneuvers, overland evasion, and fast-talking diplomacy. For one, two of the main characters are women, and highly competent ones at that. Moreover, it is an ensemble cast, with each of the three coming into the spotlight for extended periods of time.
There is also a mystery of sorts, here…or several, really, all woven together: how does this undersized planet have an atmosphere? Indications are that this is a young world, but why, then, does the dense planet have so little surface metal? And why is the star so unstable, prone to devastating solar storms that play hell with the planet's weather? Solving this astronomical puzzle proves key to addressing the Firedrake crew's more immediate problems.
Of course, you have to like detailed explanations of stellar and planetary parameters and phenomena. I personally love this sort of thing, but others may find their eyes glazing. On the other hand, there's plenty to enjoy even if you decide to let the science wash over you. The sanguine antics of Roan Tom, the determined toughness of Dagny, the more refined and tentative brilliance of Yasmin. These are great characters, and I'd like to see more of them.
Four stars.
The Planet Slummers, by Terry Carr and Alexei Panshin
A pair of young thrift store bargain hunters are, in turn, scooped up by a pair of alien specimen collectors. I think the story is supposed to be ironic, or symbolic, or something.
Ah, but then we have the story of a different couple: a superannuated trillionaire and a dewy (but flinty) eyed young starlet. There's is a love fated for the ages, but not the way you might think.
Just a terrific tale told the way only Leiber (or maybe Cordwainer Smith) could tell it.
Five stars.
Street of Dreams, Feet of Clay, by Robert Sheckley
by Vaughn Bodé
Imagine moving to the city of the future: clean, architecturally pleasing, smog-free, crammed with creature comforts. Now imagine the city is run by a computer brain…with the personality of a Jewish mother.
Bob Sheckley is Jewish, so I suspect he didn't have to strain his imagination much for this one. Droll, but a little too painful and one-note to be great.
Three stars.
For Your Information: Epitaph for a Lonely Olm, by Willy Ley
This is a pretty dandy story about a sightless cave salamander that lives its whole life in the water, thus eschewing the amphibian portion of its nature. Thanks to this creature, we have the concept of "neoteny"–the retention of juvenile traits for evolutionary advantage. The blind, pale beast also ensured the fame of Marie von Chauvin, a 19th Century zoologist.
Four stars.
Sales of a Deathman, by Robert Bloch
by Jack Gaughan
How do we combat the exploding birth rate? By making suicide sexy, thus exploding the death rate!
Bloch's modest proposal would be better suited to a three line comedy routine than a several-page vignette. Three stars.
Total Environment, by Brian W. Aldiss
by Jack Gaughan
Crammed into a ten-story self-contained habitat, 75,000 persons of Indian descent live a life of increasing desperation and squalor. At first, we are given to believe that the settlement is a natural response to the crushing pressure of overpopulation. As it turns out, the Ultra-High Density Research Establishment (UHDRE) is actually a deliberate experiment in inducing psychic abilities through exposure to unique pressures. Just 25 years ago, the site had a population of only 1500. Now, teeming to bursting, the hoped-for psionic adepts are appearing–and an empire in a teapot is arising on UHDRE's Top Deck to take advantage of them.
Aldiss writes a compelling story. One thinks it's just the second coming of Harrison's Make Room! Make Room! until it isn't. In some ways, this actually hurts the story, causing it to lose focus. On the other hand, the setting is so well-drawn, and the situation suspenseful enough, that it still engages and entertains.
Four stars.
How They Gave It Back, by R. A. Lafferty
by Gray Morrow
The last mayor of Manhattan finds The Big Apple isn't worth the bother, now that it's degenerated into a ruined, gangland state run by a quintet of bandits. Thankfully, the original owners will buy it back–for its original fee.
Again, this might have made a humorous short bit. As is, you see the punchline from the first words (the title and illo help), and the slog isn't worth the ending.
Last up, a frothy adventure featuring a TV star recruited to infilitrate the last cannibal island in the South Pacific to thwart a nefarious Soviet scheme. This is yet another in the recent spate of stories involving total sensory television in which hundreds of millions viscerally experience the lives of actors.
Unlike Kate Wilhelm's or George Collyn's spin on the subject, Laumer doesn't do very much with the gimmick. Instead, it's another of his midly amusing but eminently forgettable yarns.
Two stars.
Summing up
Despite a sprinkling of clunkers, the latest Galaxy delivers the goods. Two good novellas, a fine nonfiction piece, and an excellent Lieber short would have filled F&SF nicely. So just pretend that the other stories don't exist and enjoy the good stuff.
And then tune in to NET Journal the next few weeks while you wait for the next issue!
The February 1968 Amazing, the second under Harry Harrison’s editorship, displays two themes on its face, both noted last issue. The first is puffery: this issue says WORLD’S LEADING SCIENCE-FICTION MAGAZINE at the top of the cover, which also boasts “Katherine MacLean’s outstanding new novelet,” and the table of contents lists this “New Outstanding Novelet,” a “Classic Novelet,” and a “Special Novelet.” The second theme is protesting-too-much discomfort with the mostly-reprint fiction policy, evidenced by the prominent display of “New” on the cover: MacLean’s “Outstanding New Novelet,” “New Features,” “New Article,” “New Frank Herbert Novel.”
by Johnny Bruck
But there’s a third, more substantive theme: commendable initiative in the small amount of space left open by the reprint policy. The “New Features” listed on the contents page include the first of a promised series of articles on the “Science of Man,” by Leon E. Stover, an anthropologist now at the Illinois Institute of Technology. The book review column features a long and interesting essay-review by Fritz Leiber of a translation of a book by French author Claude Seignoll, with comments about the state of Gothic fiction generally. (See below concerning both of these.) There is also the London Letter, said to be the first of a series to include a Milan Letter, a Munich Letter, etc. This one is by Harrison’s pal Brian Aldiss, and it amounts to an extemporaneous stand-up routine which probably took Aldiss 20 minutes to write. Parts of it are amusing.
These items are all touted by Harrison in his editorial, but they are not his main matter; the editorial is titled Amazing and the New Wave, and its first half amounts to a disappointingly smarmy exercise in having it both ways:
“There is no New Wave in science fiction. Or, to put it another way, Amazing is the New Wave. . . . Science fiction is the new wave that washed into existence in 1926 with the first issue of the magazine. . . .
“To me there are only two kinds of science fiction: the good and the bad. . . . It is exactly what it says it is, and it is what I happen to be pointing to when I say the magic words ‘science fiction.’ And that is all the definition you are going to get out of me.
“The present New Wave is therefore two things: it is bad SF and it is good SF. When bad it should be consigned to the nether cellars of our building with the rest of the cobwebbed debris of the years. When it is good there are plenty of rooms it can slip into and feel comfortable.”
So Harrison spends a page on a subject of current controversy while ostentatiously saying nothing of substance about it. This banal babble from an otherwise obviously intelligent editor is presumably his way of trying to ingratiate himself and the magazine with everyone while offending no one—a bad idea that will fool nobody and which one hopes is not repeated.
Meanwhile, the actual fiction content of the magazine, except for the above-average serial, is more or less what it has been since the departure of Cele Lalli and the advent of Sol Cohen.
Frank Herbert’s serial Santaroga Barrier, begun under the previous editor, concludes in this issue, and exits honorably. To begin, the protagonist Gilbert Dasein, who teaches psychology at Berkeley, is driving to the isolated and reclusive California town Santaroga, hired by an investment company wanting to know why their chain stores were forced out of town. In Santaroga, there is no reported juvenile delinquency or mental illness. Cigarettes are purchased only by transients. Nobody moves away; servicemen always return there upon discharge; and outsiders find no houses for rent or sale. Jenny, Dasein’s not-so-old flame, moved back to Santaroga when she finished at Berkeley, telling him she couldn’t live anywhere else. (The profs fooling around with the students? Shocking!) There’s a dominant local industry, the Jaspers Cheese Cooperative, but it doesn’t produce for the outside market—the stuff “doesn’t travel.” Also, Dasein is the third investigator sent to Santaroga, the two predecessors having sustained accidental deaths.
by Gray Morrow
These cards dealt, Dasein arrives at the town’s sole inn, where he tries to call his handler in Berkeley, but the line goes out, and stays out afterwards. He is then overcome in his room by a leak from an old gas jet, and rescued just in time. Jenny, alerted to his presence, and seemingly very happy about it, shows up with breakfast. It turns out she never received the letters he sent her after her return.
Dasein quickly learns that everyone seems to know who he is. He encounters new manifestations of the town’s insularity. Nobody has TV, except for a hidden room full of people whose job it is to monitor it. There’s a local newspaper, but it’s subscription only, and its concept of reporting the news is unusual: “Those nuts are still killing each other in Southeast Asia.” All commerce appears to be local. Dasein also learns that Jaspers is not just a brand name, but a substance, one which is near-omnipresent in food and drink. And he notices a “vitality and a happy freedom” in the movements of people on the streets.
Meanwhile, the Jaspers (which is referred to later as “consciousness fuel”) is having an effect on him (“he had never felt more vital himself”), which he doesn’t entirely grasp. He’s getting a little deranged, though hardly without cause, since he also keeps having near-fatal accidents—tripping over a carpet and being narrowly saved from a three-floor fall; a kid absent-mindedly loosing an arrow that barely misses him; a garage car lift collapsing; a waitress unknowingly poisoning his coffee; and more. As for his derangement, shortly after the carpet incident, still suffering from a sprained shoulder, he takes a dangerous nighttime climb down into the Jaspers factory, clambering down and through its ventilation shafts despite his injury. Eventually he is questioning his own sanity.
It becomes apparent that consumption of Jaspers has created some sort of shared consciousness among the Santarogans, though Herbert remains vague about exactly how it works. The people responsible for his “accidents” (poisoning his food, shooting an arrow at him) seem not to have consciously intended harm, but to have unknowingly acted out the hostility and fear of the Jaspers collectivity. (Monsters from the id!) Jenny hysterically acknowledges that phenomenon: “Stay away from me! I love you! Stay away!”
Dasein also begins to see some less attractive features of the Jaspers-permeated community. On his first visit to the Jaspers factory, he finds that Jenny—trained as a clinical psychologist—works on the inspection line. Leaving, he sees through a door left open a line of people with their legs in stocks doing menial work, “oddly dull-eyed, slow in their actions.” He later learns these are the people who flunked the Jaspers initiation—about one in 500. After wondering where all the children are, he finds them working in the greenhouses, marching and chanting. Dr. Piaget, the designated spokesperson for the Santaroga way, says: “We must push back at the surface of childhood. . . . It’s a brutal, animate thing. But there’s food growing. . . . There’s educating. There’s useful energy. Waste not; want not.”
At this point, Herbert’s thriller has become a philosophical novel, or at least a novel about philosophies. Dr. Piaget elaborates on Santaroga’s child rearing practices, which reflect Santaroga’s departure from the usual human understandings about everything: “We take off the binding element. Couple that with the brutality of childhood? No! We would have violence, chaos. . . . We must superimpose a limiting order on the innate patterns of our nervous systems.” Hence, child labor; got to get 'em disciplined early."
Dr. Piaget continues: “We know the civilization culture-society outside is dying. They do die, you know. When this is about to happen, pieces break off from the parent body. Pieces cut themselves free, Dasein.” And Dasein acknowledges the obvious: “Dasein knew then why he’d been sent here. No mere market report had prompted this. . . . He was here to break this up, smash it.” Piaget again: “Contending is too soft a word, Dasein. There is a power struggle going on over control of the human consciousness. We are a cell of health surrounded by plague. . . . This isn’t a struggle over a market area. . . . This is a struggle over what’s to be judged valuable in our universe.”
There is more denunciation of “outside” (another character says, with elaboration, “it’s all TV out there”), and much ambivalence on Dasein’s part about both outside and Santaroga, resolved in a final confrontation when the man who sent him to Santaroga comes looking for him.
This is a pretty solid SF novel, much better than Herbert's previous serial The Heaven Makers, with an interesting if somewhat vague idea capably revealed through a plot dense with incident, though there are minor points where things don’t hang together well. Though talky, it’s much less of a turgid slog than some of his other work (Ahem, Dune). The hive-mind idea is not entirely original, but Herbert takes a different angle and asks different questions than some of his predecessors. In fact, the novel can be viewed almost as the anti-More Than Human—do you really want to give up your individuality and privacy for the comfort of such close and inescapable community? Especially when you might end up acting violently without even realizing it? Four stars, with a couple of planetoids thrown in.
Note the portentousness of some of the names in this novel. An SF fan’s first thought about Gilbert Dasein is likely that it’s homage or satirical swipe at Gilbert Gosseyn, protagonist of van Vogt’s The World of Null-A. But that’s probably wrong. “Dasein” is German philosopher Martin Heidegger’s term for existence, as it is experienced by human beings. Karl Jaspers is another German philosopher. Jean Piaget is a Swiss psychologist famous for his studies of child development, some of whose work looks as much like philosophy as psychology. A student of philosophy, which I am not, might make something of these names, but I’d suggest that the novel works well enough without that kind of gloss.
Katherine MacLean contributed a number of incisive stories to the SF magazines from 1949 into the early ’50s (Defense Mechanism, —And Be Merry, Incommunicado, Contagion, etc.), and a few since then (mainly Unhuman Sacrifice). Her novelet The Trouble with You Earth People isn’t on that level; it’s an amusing and mildly bawdy story of cultural misunderstanding between doggish alien visitors, whose understanding of humanity is based on watching television, and an easily scandalized elderly scientist. It reads like it could have used another draft. Three stars.
Remote Control, by Walter Kateley
To the reprints. Walter Kateley’s Remote Control (from Amazing, April 1930), opens with the narrator’s friend Kingston showing him around a large construction project. It is being carried out by animals—whales and sharks carrying heavy freight, apes and elephants unloading it, and as for the typing and computation required for such a project: “The machines were being operated at lightning speed, not by lady typists, as one might expect, but by bushy-tailed gray squirrels!”
by Hans Wessolowski
The author now flashes back to an earlier time, when Kingston has joined the narrator on his family farm, and assists with his observations of ants. The two are puzzled by the ants’ efficiency in carrying out cooperative tasks without anything much resembling a brain and with no indication of how their activities are coordinated. Then an accidental mixture of buttermilk and cedar oil gets on one of their lenses, and—revelation! Now they can see tiny bright lines of energy leading from the ants back into the nest, which when followed to their source reveal a tiny brain that is apparently coordinating all their activity. The possibilities are obvious, and it’s a short hop from these naturally manipulated ants to whales and elephants working construction, with squirrels on typewriters in the office, and human puppet masters somewhere off premises.
This one is amusing at first, but quickly gets tedious, since the story consists mostly of Kingston and narrator lecturing each other, with the narrator at one point reading aloud a passage from his favorite entomology text. Fortunately this “novelet” runs only 18 pages of large print and is over quickly. Two stars.
Rog Phillips’s “You’ll Die Yesterday!” (from the March 1951 Amazing) is a piece of yard goods by one of Ray Palmer’s stable of hacks—but a pretty capable one. Phillips published some 44 stories in a little over six years before this one, mostly in Amazing and Fantastic Adventures, and clearly has the knack to meet Palmer’s famous editorial demand to “gimme bang-bang.” Protagonist Stevens, author of a successful book, is giving a lecture; an audience member asks a question but is shot before Stevens can answer; the killer runs out of the auditorium but inexplicably disappears. Before the cops arrive, Stevens swipes some papers carried by the decedent, Fred Stone, and shows by home carbon-dating that they are from the future. Also, Stone was carrying a “T.T.” permit (figure it out) and a printed copy of Stevens’s speech, which was extemporaneous, so it could only have been prepared later from a transcript. Next day, Stevens’s girlfriend sees Stone, alive, on the street. Turns out his body is missing from the morgue.
by Julian S. Krupa
More developments come thick and fast and there’s a revelation at the end which actually doesn’t resolve much, but might seem to if the reader wasn’t paying close attention, as I suspect was the case with much of the Palmer Amazing’s readership. So it’s a clever if insubstantial riff on the time paradox theme. Three stars for good workmanship.
The Great Invasion of 1955, by David Reid
The Great Invasion of 1955, by David Reid, from the October 1932 Amazing, is another tedious old story in which the Japanese are invading the United States and are vanquished by new technology based on now out-of-date science. It may be of interest to those interested in speculative helicopter design. Otherwise, one star.
Turnover Point, by Alfred Coppel
Alfred Coppel, author of Turnover Point (Amazing, April-May 1953), helped fill the SF pulps and lower-echelon digests with mostly forgettable material from the late ‘40s until the mid-‘50s, when he disappeared from the genre, briefly reappearing in 1960 with the well-received post-nuclear war novel Dark December. This story is a bucket of cliches—a Bat Durston, i.e. a displaced Western—which is a surprise, since it appeared in the first issue of the magazine’s brief flirtation with high pay rates and higher quality content. But here it is, alongside Heinlein, Sturgeon, and Bradbury. A sample:
“The Patrol was on Kane’s trail and the blaster in his hand was still warm when he shoved it up against Pop Ganlon’s ribs and made his proposition.
“He wanted to get off Mars—out to Callisto. To Blackwater, to Ley’s Landing, it didn’t matter too much. Just off Mars, and quickly. His eyes had a metallic glitter and his hand was rock-steady. Pop knew he meant what he said when he told him life was cheap. Someone else’s, not Kane’s.”
by Ed Emshwiller
The bad guy hiring Pop’s battered old spaceship turns out to be the one who killed Pop’s son, a Patrol officer who “was blasted to a cinder in a back alley in Lower Marsport.” Pop knows Kane is going to kill him after “turnover point”—the point at which the spaceship is turned around (a maneuver accomplished with a flywheel) so its business end faces the destination for deceleration and landing. But Pop has the last laugh—he didn’t turn the ship around to decelerate for landing, but made a full 360 degree turn, so it continues on towards the outer reaches of the solar system, where Kane can starve, suffocate, and go crazy after it is too late to do anything about it. Whoopee! Two stars, barely, since it’s at least capably written for what it is.
Science of Man: Neanderthals, Rickets and Modern Technology, by Leon E. Stover
Prof. Leon Stover’s article suggests that the Neanderthals died out because they wore clothes, shielding themselves from sunlight and therefore from vitamin D. Vitamin D deficiency causes rickets, which has serious enough consequences to affect evolutionary success. Clothing was the Neanderthals’ technological solution to the glaciation of their habitat; what saved them then killed them off. Vitamin D absorption, or lack of it, also accounts for the distribution of races: dark skin absorbs less than light skin, so dark-skinned peoples flourish in the tropics where there’s a surfeit of sunlight, while light-skinned people dominate at higher latitudes. The moral: people must assess the consequences of their technological development, as the Neanderthals failed to, and we need a lot more technically trained people than we’ve got.
It all seems plausible and is lucidly enough written. Is he right? Beats me. Three stars.
The Future in Books
Ordinarily I don’t rate the book review columns, but this one is unusual, containing Fritz Leiber’s review of French writer Claude Seignolle’s The Accursed: Two Diabolical Tales. Leiber traces the current revival of “Gothic” fiction, recognizable by the paperback covers depicting an anxious-looking woman, with a large house in the background displaying a single lighted window, and notes the less formulaic older books being reprinted under cover of this new wave (excuse the expression) of yard goods.
This brings us to Leiber’s typology of “the true Gothic or supernatural-horror story,” of which there are two flavors: “Can such things be?” and “Such things are! So let’s go whole hog!” He continues: “The first type of story aims to make a sensitive, intelligent reader question for a deliciously scary moment the stable, science-proved foundations of the world in which he trusts. The second provides a feast of grue for those who relish such banquets.” Seignolle’s two novellas (one featuring a young pyrotic, the other a young lycanthrope) are firmly in the second camp, as Leiber shows by judicious description and quotation.
This is all lively and informative, above and beyond the usual book review, though Leiber disappointingly fails to describe where Seignolle’s work fits into the fantastic tradition (or lack of it) in his native France. Also, the book is introduced by Lawrence Durrell, a rather large noise in contemporary literature after his Alexandria Quartet; Leiber does not mention what Durrell has to say about the book, or about Seignolle generally. So, three stars; a good piece that should have been better. (And this rating in no way reflects the other review here, a distasteful hit job on Roger Zelazny’s Lord of Light bylined “Leroy Tanner,” well known as a pseudonym of Harrison’s.)
Summing Up
So, a good novel (though one begun under the previous regime), a decent new story, the usual uneven bunch of reprints, and some stirrings of life in the non-fiction departments. I’m not sure that adds up to “promising”—more like “steady as she goes”—so we’ll have to leave it with a version of the baseball fans’ lament: “wait till next issue.”
Nichelle Nichols is a delight so it’s always exciting to see Uhura on the bridge in the opening scene, and after Walter Koenig’s performance in the last episode, I was really looking forward to more Chekov. When they were both called to be part of the landing crew at Gamma II, my hopes were high that this might be a repeat performance of “I, Mudd”. Unfortunately, “The Gamesters of Triskelion” featured William Shatner, and little else.
Immediately after stepping on the transporter platform, Kirk and the party were abruptly teleported away by an unknown force. They were met by hostiles on a planet that was clearly not Gamma II. While Uhura and Chekov were quickly captured, Kirk went on to not just best his opponent, but continue to fight until he was blindsided by another hostile. Upon which, they were greeted by, “Galt, master thrall of the planet Triskelion” who is tasked with training those that have been abducted by The Providers.
"All I want for Christmas is a pair of arms."
Meanwhile, on the Enterprise, Spock, McCoy, and Scotty are doing everything they can to figure out what happened to their captain and crewmates. In their typical way, Spock and McCoy share a moment of banter that adds some levity to the situation as their search continues. The interactions on the Enterprise continue to escalate as McCoy and Scotty disagree with Spock following a trail leading them nearly a dozen light years away from Gamma II. It’s not uncommon for McCoy to be at odds with Spock, but Scotty usually has a good head on his shoulders when it comes to command. This was not one of those times. As commanding officer, and apparently the only person currently with any sense, Spock continues to follow the trail that, you’ve already guessed, eventually leads to Triskelion.
"Have you looked under your bed, Spock? How about on Mars? We should check all the angles before following your hunch. Who do you think you are? The acting-captain?"
On Triskelion, Kirk, Uhura, and Chekov attempt to escape but quickly discover that the collars they wear are not fashionable accessories, but a means to correct and control them. A few questionable interactions later we find Kirk seducing his Barbarella-esque drill thrall, imposing his sense of western morality, and then exercising his physical prowess yet again. (Let’s be honest, there are a few questionable interactions during this scene as well.)
“What is so questionable,” you might ask? It wasn’t enough that one of the thralls enters Uhura’s chambers and we are left to wonder if something horribly indecent is happening over an entire commercial break, but a bound black man is brought out to be an exercise dummy during their training. That is until Kirk comes to the rescue and redirects the torture onto himself and is resurrected… sorry, wrong story… proceeds to defeat his torturer, a thrall that is quite literally twice his size, by strangling him from behind. I may not be a martial artist (well, okay, I am) but it doesn’t seem like Kirk took much advantage of the brute’s weak left eye, as he was advised to do. Obviously, dispatching armed opponents twice his size is just a day in the life of David. I’m sorry, I keep getting my stories mixed up. Must be all the biblical references Spock keeps making (apparently Vulcans don't have their own bible.)
"You do realize how tacky this is, right?"
The Providers are so impressed that they have a bidding war over who gets to own the “newcomers” and at this point, it shouldn’t be lost on anyone that the Providers are slave masters betting on gladiators.
If that wasn’t enough William Shatner for you, he’s featured shirtless and sporting a training harness for the rest of the episode as he charms his battle-hardened drill thrall, attempts to escape, and outsmarts The Providers by agreeing to battle three thralls to free himself, his crew, and the remaining thralls. He wins, of course. Was there any doubt?
"How about a real wager? If I win, I get to dress like this all the time."
Ultimately, the Enterprise reaching Triskelion did nothing but put the rest of the crew in danger, Uhura’s and Chekov’s involvement had little significance to the plot, and Kirk is our savior against an omnipotent being once again.
This is one of the hopefully rare occasions where the writing, directing, and editing failed to deliver. Appropriate with the number of characters featured in this episode, I rate it one star.
The B Team
by Gideon Marcus
Last year, Green Beret Gary Sadler warbled eloquent over the virtues of "Twelve Men, invincible… the A Team". The latest episode of Trek was very definitely the product of The B Team.
We always scan the credits eagerly at the beginning of each episode. Many is the time we've been treated with the bylines of some of our favorite science fiction authors. Even when one turns in a substandard script ("paging Bob Bloch, Mr. Bob Bloch…"), there's still the thrill of being able to say, "I know that guy!" And if a writer be unknown, the director is often one of a stable of familiar names: Marc Daniels, Joseph Pevney, Ralph Senensky.
This time, we got a script by a "Margaret Armen" and a director named "Gene Nelson". While it's always nice to see the creative wealth spread around, this time the new talent let us down.
For one thing, we've now gotten to the point where writers are portraying caricatures of our favorite characters rather than developing them. In this episode, McCoy and Scotty spend endless hours bickering with acting-Captain Spock. While it's true that McCoy loves to take an adversarial position with respect to the Vulcan, Scotty does not (recall that he was the only one to have no truck with the insubordinate nonsense of "The Galileo Seven".) Uhura and Chekov might as well not even exist, despite a tantalizing promise of activity.
Nichols and Koenig are stunned to learn they won't have any more lines this episode.
Instead, we get Kirk nobly educating the savages and their masters about the virtues of democracy and freedom. Even more, we are treated to every kink and fetish the writer has ever wanted expressed on celluloid. Lurid harnesses from space-age materials, whips, pain collars, and more Shatnerian tongue than we've seen in all the prior episodes combined.
Speaking of Shatner, Gene Nelson's sin is not overdirection but lack of it. Kirk's actor made it clear this summer that he was going to throw in more stylized, personal traits into the captain; Nelson let go of the leash, letting Shatner run wild. The smarmy chuckle, the goggle-eyed outstretched arm and cry (which ends two of the acts), the hunched shoulder and wide-armed delivery, the…punctuated…delivery-of-lines.
Indeed, one wonders if Shatner had anything to do with the script revision process, because if he has any tendency toward line counting, he sure made certain he got 80% of the lines spoken this time around. I like Trek best when it's an ensemble show. This was the Kirk show.
Add to that the entirely recycled score, the recycled costumes, and the recycled sets (we don't even get to see the trinary sun), the recycled plots ("Arena", "Metamorphosis", "Menagerie") and Gamesters ends up a very tired affair.
1.5 stars (I liked the bit between Tamoun and Chekov, and also the fact that Uhura was able to fend off her would-be-rapist all by herself).
Do One Thing and Do it Well
by Joe Reid
I imagine some stories are a lot like people. At some point in their lives men and women must decide who they are going to be. They come to realize that the choice is theirs. If that epiphany doesn’t come to them, they hopefully can accept who they do become, whether by intent or circumstance.
This episode of Star Trek was striving to be something; sadly, it didn’t know what. Did it intend to be a reminder of the wickedness of American chattel slavery, using the crew as the enslaved? Was it trying to be a tale of manipulation of a naive innocent? Perhaps it was an attempted telling of a mutiny on the Enterprise or a gladiator epic on an alien world or an echo of Forbidden Planet?
Knowing my history and seeing free people abducted from their homes, being restrained, and sold as property to me harkens back to the horrific institution of American slavery. If that wasn’t clear enough, two other scenes in the episode drove it home for me. In the first scene, Lars, one of the overseer thralls, attempts to force himself onto Uhura, who being “property” should have no right to refuse his advance. Thankfully, our gal proved she was no helpless damsel. The second scene involved an “alien”, looking unmistakably like a black man, about to be punished for disobedience by another overseer. Uhura again refused to participate in that and was about to be punished in the man’s place, until Kirk stepped in to take her place. These scenes might mean nothing to most people, but to me they clearly reflect our dark national history. They blatantly demonstrated the subject in a way that grade schoolers could understand. Then it suddenly chose to be something else entirely. It became “Svengali”.
Beautiful, young, and inexperienced. A woman is introduced to emotions and feelings she had never felt before by a seductive man. Being violently manipulated by him, so that he could gain access to the hidden players behind the curtain…
"How can you resist me? We're showing virtually the same amount of skin!"
Then it became “Ben Hur”.
“Captain” and his friends are forced to fight for their lives as gladiators for the amusement of powerful rulers, who see them as toys for their entertainment. Can he beat the odds and survive the death games of Triskelion…
A silver-bikini clad minx fights and loves while trying to avoid the wrath of the unfeeling Providers… I’ll stop here.
I found the thematic shifts in the episode jarring. Especially since it attempted the last three things simultaneously, after ceasing to be a slavery epic. I neglected to mention the poor man’s rendition of “The Bounty” back on the Enterprise. An almost-mutiny with comical quips between emotional McCoy and logical Spock which fell flat for me.
This entry, with Five and Dime versions of Ming the Merciless and Deeja Thoris didn’t satisfy. Had this episode tried to be one thing well, instead of many things poorly, it could have been better. Sadly, the excellent characterizations of Uhura and Spock, were forgotten as the thematic layering took hold.
Two stars
Neither Fish nor Fowl
by Janice L. Newman
A couple of weeks ago Robert Bloch attempted to mix supernatural horror with Star Trek’s style of science fiction, with uneven results. “The Gamesters of Triskelion” attempted a fusion of a different genre with science fiction: sword and sorcery, first born in the pulps and lately enjoying a revival. In the right hands, like those of Leigh Brackett, such a mix can be compelling and interesting.
Unfortunately, the author of the “Gamesters of Triskelion” script was not the right hands.
Is "Margaret Armen" actually a pen name for Jon Norman?
Simply throwing various elements from popular sword and sorcery stories into a blender does not make what comes out at the end a classic, especially when the elements chosen are: slavery, gladiatorial-style games, hand-to-hand combat with primitive weapons, grotesque yet humanoid monsters, physical punishments via whips, ‘magical’ punishments via devices, an evil ‘wizard’, and a naive maiden warrior who must be ‘taught’ what ‘love’ is.
Nor does taking various elements from Star Trek and throwing them into a blender make a good Star Trek episode. McCoy being intransigent with Spock, Kirk seducing a beautiful woman to secure his escape, Kirk getting his shirt ripped off, Kirk fighting a death match to the exciting strains of the “Amok Time” score…these have all been used to more or less good effect in previous episodes. Sadly, here they felt nonsensical, annoying, and contrived – to the point that the episode felt more like a piece an amateur might write for a fanzine than a polished script for a nationally-broadcast TV show.
In the end the result is neither a good sword and sorcery story nor a good Star Trek story.
One star.
Next episode might be better – don't miss Thoroughly Modern Billy (Shatner)!
Join us tonight at 5:00 PM Pacific (8:00 Eastern) or at 8:00 PM Pacific (11:00 Eastern)!
Welcome to the last of our three discussions about an anthology of original fantasy and science fiction that's drawing a lot of attention. Love it or hate it, or maybe a little of both, it's impossible to ignore. I showed you the full wraparound cover the the first time, and offered a closer look at the front the second time, so here's the back cover. It gives you a convenient list of the authors.
As before, I'll give each story the usual star rating as well as using the colors of a traffic light to indicate how dangerous it might be.
A woman desperately tries to escape her pursuers. Flashbacks tell us more about this dystopian world.
Saying anything more would lessen the impact of this intense little story. Ellison's introduction compares it to the work of Shirley Jackson, and that's a fair analogy. It's deceptively quiet and matter-of-fact at times, but full of icy horror at its heart.
Four stars. YELLOW for unrelieved grimness.
The Happy Breed, by John T. Sladek
In the near future, machines take care of all our problems, leaving us to enjoy a life of leisure. Of course, what the machines think is best for us may not agree with our own ideas.
This dark satire on automation isn't exactly subtle. It makes its point clearly enough, and follows it to its logical conclusion. The details of the characters' degeneration make it worth reading.
Three stars. YELLOW for cynicism.
Encounter with a Hick, by Jonathan Brand
Our smart aleck narrator tells us how he met a fellow from a less sophisticated background and what happened when he told the man something about the origin of his planet.
You'll probably figure out the punchline of this extended joke. Despite its predictability, I enjoyed the story's wise guy style. Others may find the narrator annoyingly smug.
Three stars. YELLOW for a wry look at deeply held beliefs.
From the Government Printing Office, by Kris Neville
Set at a near future time when childrearing has changed in an eye-opening way, this yarn is told through the eyes of a kid who is only three and one-half years old. Adults are bewildering creatures indeed!
The quirky choice of viewpoint, with its combination of precocity and naiveté, is what makes this story worth a look. I'm not quite sure what the author is saying about parents and children, but it's provocative.
Three stars. YELLOW for an unflattering portrait of Mom and Dad.
All over the world, people with Romany ancestors feel compelled to return to a place that vanished long ago. But what will disappear next?
This synopsis fails to capture the author's eccentric style and unusual combination of whimsy and oddball speculation. If you like Lafferty, you'll enjoy it. If not, you won't. Like many of his works, it's something of a tall tale and a shaggy dog story. I dug it.
The narrator witnesses a woman and a dwarf set up a strange menagerie at night, not far from where a carnival is in progress. The mystery of the cages deepens as visitors show up.
I find this story difficult to describe. It's quite a bit different from the author's jagged, chopped up pieces for New Worlds, and from his decadent tales of Vermillion Sands. It's very subtle, and there seems to be more than meets the eye. The premise evokes thoughts of Ray Bradbury, but only in an extremely subdued way. Maybe haunting is the word I'm looking for.
Four stars. GREEN for intriguing writing.
Judas, by John Brunner
A robot sets itself up as God. One of the people who created it sets out to destroy the false deity.
The plot is simple enough, and the analogy between the worship of the robot and Christianity is made crystal clear. You may predict the twist ending, given the story's title.
Three stars. YELLOW for religious themes.
Test to Destruction, by Keith Laumer
The leader of a group of rebels is captured by the forces of a dictator. They use a gizmo to retrieve information from his brain. Meanwhile, in what has to be the wildest coincidence of all time, aliens approaching Earth also probe his brain, in order to learn how to conquer humanity. The combination is explosive.
Looking at my synopsis, I get the feeling that this isn't the most plausible story in the world. Since it's by Laumer, you know it's a fast-moving adventure yarn. As a matter of fact, it's so lightning-paced that it makes his other stories look slow. The reader is left breathless. There's a serious point made at the end, but mostly it's just a thrill ride.
The delightfully named Harrison Wintergreen is a guy who has always gotten what he wanted out of life. As a kid, baseball cards. As a young man, women. As an adult, tons of money. Now he's got terminal cancer. Can he triumph over the ultimate challenge?
As Ellison says in his introduction, this is a funny story about cancer. Sick humor, to be sure. Bad taste? Well, maybe, but I think you'll get a kick out of it.
Replace a bullfight with a battle between man and car, and you've got this tongue-in-cheek tale. All the details of a traditional corrida del toros are here, transformed to fit the automotive theme.
Space explorers are raised from childhood to be absolutely free of sexual characteristics. It's impossible to tell if they started off as female or male; they are completely neuter in every way. People known as frelks are attracted to them.
Amazingly, this is the first short story Delany ever sold, although others have already appeared in magazines. It's superbly written, as you'd expect, and explores sex and gender in completely new, profound ways.
Five stars. RED for unimagined forms of human sexuality.
20 20 Hindsight
Looking back at the book as a whole, it's clear that the level of stories is generally high, with a few clunkers. Not all the stories are dangerous, and they could have been published elsewhere. A few are truly groundbreaking. The Silverberg, Leiber, and Delany are the best. The Sturgeon is the biggest disappointment. The Farmer is going to start the most arguments. Put on your reading glasses, fasten your seat belt, and give it a try.
Happy New Year, everyone! We’re off to a cracking start this year with a spy thriller that really gives Patrick Troughton the chance to show off his (very good) acting chops and (very questionable) dialect skills. Let’s get stuck into Doctor Who: The Enemy Of The World.
EPISODE ONE
After all the cold weather of the last few episodes, a trip to the sunny seaside in the year 2018 is just the sort of thing the Doctor and his companions need. However, the Doctor’s refreshing dip in the briny is cut short when a gang of assassins try to fill him up with lead.
Fleeing into the sand dunes, the gang are almost cornered when the assassins’ boss shows up with a helicopter—but fortunately, she’s here to rescue them. It seems there has been a case of mistaken identity.
It’s a jolly exciting first few minutes, that’s for sure.
Their saviour Astrid (Mary Peach) takes the group to her bungalow, where she turns on the charm. The Doctor very much enjoys her attentions until she asks him if he wouldn’t mind doing her a favour. One that will very likely get him killed. She wants to introduce him to her boss, Giles Kent (Bill Kerr)… as soon as they get away from the assassins still in hot pursuit, leaving a dead assassin in Astrid’s living room and an exploded helicopter in her back garden.
See, it appears that the Doctor has a doppelganger. Again. Last time this happened (St. Barthomew's Eve), it was a French bishop, but this time it’s a Mexican would-be dictator by the name of Ramón Salamander.
The Doctor’s uncanny resemblance to Salamander (other than the questionable accent, brown-face and neat hairdo) could be an incredible boon to those who wish to bring Salamander down. But would that be a good thing? To all appearances, Salamander is an absolute godsend, having invented a technology to capture sunlight and use it to aid crop growth in disaster-stricken areas. It also happens that he has an uncanny ability to predict when and where these disasters will strike, and is always the first to offer aid.
It all seems a bit too good to be true for Kent, but the Doctor isn’t entirely convinced. Maybe they shouldn’t look a gift horse in the mouth? Then again, this horse might be Trojan.
Powerful men have a habit of dropping dead around Salamander, with his cronies taking their places. Kent claims that Salamander ruined his career when he got too close to the truth, but it could all just be sour grapes. There’s only one way to know for sure. The Doctor must become Ramón Salamander, and break into his research station to find out the truth about his plans for the world.
With a few weeks to practice, he could pull it off, though he’s still not sure he’s even willing to try it.
But Kent won’t give him a few weeks to practice, or even a few minutes to think. Thanks to a call from him, the head of United Zone security, Donald Bruce (Colin Douglas) is on the way. If he sees the Doctor out-of-character, he’ll put him under arrest for impersonating Salamander.
The only way out is to put on a flawless performance.
The Doctor hastily changes into some smarter clothes and gives his hair a brush while the others stall Bruce, who understandably has questions about the dead man in Astrid’s living room. It’s not exactly easy to explain away, but fortunately the Doctor doesn’t miss his cue, emerging in character as Ramón Salamander.
It is so weird.
EPISODE TWO
The Doctor finds himself very much thrown in at the deep end as Bruce demands an explanation for his presence here. But who is Bruce to demand explanations of the great Ramón Salamander? Nobody! And so he refuses to explain himself—and the ruse works.
The Doctor is still unconvinced he’s even aiding the right side, but Jamie encourages him to go along with things. I think he’s enjoying this.
Jamie, Victoria and Astrid rocket over to the Central European Zone to begin infiltration. Meanwhile, the Doctor and Kent go to observe Salamander’s research station from a cabin just outside the restricted area.
As for the real Salamander, he is warning the leader of the Central European Zone, Denes (George Pravda), about an impending eruption in a long dormant volcanic area in Hungary. I don’t think any volcanoes in Hungary have actually erupted for hundreds of thousands of years, but Salamander insists he knows all about volcanoes, so who am I to disagree?
However, Denes (by the way it’s pronounced ‘Denesh’) is doubtful about the risk.
Meanwhile, Astrid manages to plant a bomb on Salamander’s balcony, providing Jamie the opportunity to turn up at the right time to ‘save’ Salamander. A grateful Salamander offers Jamie a job with his household guard, and Jamie even manages to finagle a job in the kitchens for Victoria.
It turns out that Denes is in league with Astrid, and knows that Salamander is probably going to try and replace him with a more loyal stooge. He just can’t think of a reason that the most likely candidate, Fedorin (David Nettheim), should betray him.
Well, aside from petty ambition, it looks like Salamander is very talented at finding ways to motivate people. He finds incriminating information, then holds it against them as insurance. Whether the incriminating information is true or not is irrelevant, it looks real and that’s all that matters. Fedorin reluctantly agrees to Salamander’s plan to remove Denes from power, and right on cue…
BOOM! A whole mountain range erupts in a glorious montage of stock footage, to the undisguised awe of Salamander and the dismay of all others present.
Well, doesn’t that seem a little convenient?
It certainly seems so to Denes, who storms in and accuses Salamander of somehow causing this disaster. Because this is Doctor Who and Salamander is very obviously the baddie, he’s probably right… but you must admit that this is quite an eccentric accusation.
And it makes it very easy for Salamander to discredit Denes. He demands Bruce (who has just arrived) to arrest him, and Bruce complies. With the United Zone security forces at Salamander’s beck and call, why bother with all the manipulation? He could just seize power by force at this point. Seems like he’s just making more work for himself. Or perhaps he needs the hero-worship as much as he wants the power that comes with it.
EPISODE THREE
Though Denes is out of power and in handcuffs, that still isn’t enough for Salamander, who orders Federin to finish Denes off with a vial of poison. I think Salamander could stand to learn a thing or two about the art of subtlety.
Then again, when you’re powerful enough you can get away with this sort of thing.
While working in the kitchens under a comically dour chef, Victoria makes the acquaintance of Salamander’s food taster, Fariah (Carmen Munroe). Fariah is a less than willing employee of Salamander, but the exact nature of his hold on her is unclear. Nevertheless, she seems to hold quite a bit of soft power in his household, able to vouch for Jamie when a guard gets a little too suspicious of him. She warns Victoria that Salamander is bad news, and that she should get well away from him as fast as she can.
The Doctor and Kent, meanwhile, have learned of the disaster in Europe and are wondering how Salamander could have predicted it…or caused it. Kent has a theory. A suspicious amount of funding went into Salamander’s research station, far more than should have been required for its stated purpose of solar energy storage. However, when he tried to prove that there was something dodgy about how Salamander was handling the funds, the proof mysteriously vanished, replaced with falsified documents.
Having learned of Denes’ arrest, Astrid starts putting plans into place to attempt a rescue, pretending to be a messenger in order to do so. However, when no message actually arrives for him, Salamander gets suspicious as to what this stranger is doing in the presidential palace, and orders his guards to follow her.
Meanwhile, Fedorin gets an opportunity to poison Denes’ food, but finds himself unable to follow through. Salamander is of course very understanding when Fedorin returns to him, full poison vial in hand. He even offers him a drink… poisoned with the very toxin that Fedorin was supposed to deliver to Denes.
Well, if Fedorin didn’t see it coming, that’s on him.
At 11 on the dot, Jamie creates a distraction, but Astrid’s side of the plan goes awry. Not only does she fail to help Denes escape, he gets a bullet in the back. Then there’s a very abrupt cut to a new scene, with Jamie and Victoria captured and Astrid nowhere in sight. It feels like the scene was cut about a minute too early, which is odd for what is otherwise a very well paced serial.
Once the guards haul the pair away, Bruce finally gets a chance to ask Salamander what he was doing in Australia…which of course is news to Salamander. And the penny drops for the pair of them. Someone is impersonating him.
And we know Who.
Final Thoughts
Oh, this is an excellent start. Really excellent. It is very refreshing to have a different flavour of plot for once. No aliens (other than the Doctor), no bug-eyed monsters, just some intrigue and a fun spy plot. It might be a tad complicated in places, but I think kids are smart enough to keep up.
Troughton’s great as the Doctor, but he also makes a fantastic villain. Ramón Salamander has flair, panache, and a genuine sense of menace. In fact, he wouldn’t be out of place in a James Bond film. The one thing I don’t care for is the brownface and that absurd accent. Troughton is more than capable of distinguishing Salamander as an entirely different character to the Doctor without the assistance of such things. It’s not just the voice, he carries himself in a new way, emotes differently, his entire essence is just completely altered from when he’s playing the Doctor. I was genuinely impressed, and I really look forward to seeing how the two characters interact in the future.
![[January 26, 1968] Jack Barron Returns!<i>New Worlds</i>, February 1968](https://i0.wp.com/galacticjourney.org/wordpress/wp-content/uploads/2023/01/New-Worlds-Feb-68.jpg?resize=672%2C372&ssl=1)
Cover by Eduardo Paolozzi, designed by Charles Platt and Christopher Finch
Photos of the key writers this month. New feature.
More sex from Jack Barron. Artist uncredited.
First page of the article. More cut-up stylings!
Photo illustration. Does it help explain the story? Perhaps…perhaps not.
Artist: James Cawthorn
Weird art for a weird story.
![[January 24, 1968] On Track for the Moon (Apollo 5 and Surveyor 7]](https://i0.wp.com/galacticjourney.org/wordpress/wp-content/uploads/2023/01/apollo_5_patch.jpg?resize=672%2C372&ssl=1)
![[January 22, 1968] The Magical Mystery Tour (February 1968 <i>Fantasy and Science Fiction</i>…plus the Beatles movie!)](https://i0.wp.com/galacticjourney.org/wordpress/wp-content/uploads/2023/01/680122both.jpg?resize=672%2C372&ssl=1)
The Mystery Bus attempting to flee its critics.
Yes, but why?
Everyone having a lovely time, apparently.![[January 20, 1968] Alyx and Company (January 1968 Galactoscope)](https://i0.wp.com/galacticjourney.org/wordpress/wp-content/uploads/2023/01/680120covers.jpg?resize=672%2C372&ssl=1)
![[January 18, 1968] I Would Advise Yas ta Keep Watching (<i>Star Trek</i>: "A Piece of the Action")](https://i0.wp.com/galacticjourney.org/wordpress/wp-content/uploads/2023/01/680118title.jpg?resize=672%2C372&ssl=1)
![[January 16, 1968] Worthy programming (February 1968 <i>Galaxy</i>)](https://i0.wp.com/galacticjourney.org/wordpress/wp-content/uploads/2023/01/680110cover.jpg?resize=672%2C372&ssl=1)
![[January 14, 1968] As Is (February 1968 <i>Amazing</i>)](https://i0.wp.com/galacticjourney.org/wordpress/wp-content/uploads/2023/01/amz-0268-cover.png?resize=492%2C372&ssl=1)
![[January 12, 1968] Shatner Trek: Arena of Triskelion (<i>Star Trek</i>: "The Gamesters of Triskelion")](https://i0.wp.com/galacticjourney.org/wordpress/wp-content/uploads/2023/01/680112title.jpg?resize=672%2C372&ssl=1)
![[January 10, 1968] Saving the Best For Last (<i>Dangerous Visions</i>, Part Three)](https://i0.wp.com/galacticjourney.org/wordpress/wp-content/uploads/2022/10/1967_Dangerous-Visions-hc.jpg?resize=672%2C372&ssl=1)
![[January 8, 1968] Seeing Double…Again (<i>Doctor Who</i>: The Enemy Of The World [Part 1])](https://i0.wp.com/galacticjourney.org/wordpress/wp-content/uploads/2023/01/680108seeingdouble.jpg?resize=672%2C372&ssl=1)
