After the grumpiness of my last review, I’m pleased to say that 1969 has arrived and put me in a better frame of mind. I am determined that this new year will see me being more positive. Mind you, New Worlds seems determined at times to try and derail my positive outlook. This new issue is back to the usual mixture of things that inspire, as well as things that confuse and even annoy.
A noticeable change is that the magazine is under new publishers. Last month it was “Stoneheart Publications”. This month it is “New Worlds Publications”, edited by Moorcock, Charles Platt and James Sallis.
Impressively startling cover by Gabi Nasemann.
Although the publishers may be new, the cover – another one of those strangely-hued pictures of people – is, I must admit, quite startling. It rather made me think of the ending of 2001: A Space Odyssey (which I have finally seen at the cinema, by the way.) If the idea is to grab customer’s attention at the few newsagents willing to put the magazine on its shelves, I would say well done.
But does it say anything about the magazine, or the contents within? (Actually, it does, but obliquely, in that there’s a brief reference to a newborn child in Sallis’s Cornelius story.)
I guess that some may like this enigmatic approach – who knows what you’ll read about in this issue? – but I’m less convinced. The experiment of putting story prose on the front seems to have gone, though, as too the Lead In telling us of the writers and artists in this month’s issue.
Article: Orthographies by James Sallis
Instead of the Lead In, we have the return of the much-delayed and now Co-Editor James Sallis. (See last month’s issue for details.) In the article Sallis muses on the point and purpose of the modernist novel, which may be quite interesting, but unfortunately Sallis fills the article with such highfaluting gobbledygook that reads as if it is straight out of a university thesis paper.
Whilst Orthographies clearly shows Sallis’s wider reading (perhaps that’s what he’s been doing whilst away?) I did wonder whether the regular readership would appreciate it. Analog it is not! (More of which later, by the way.) Part two follows next month – personally I can wait. Not a great start. 2 out of 5.
Jeremiad by James Sallis
As expected, the usual nudity, not entirely related to the prose. Artwork by Gabi Nasemann.
Two months ago, the magazine declared that Mike Moorcock’s character Jerry Cornelius would continue in future issues by stories written by others, starting with James Sallis’s Jeremiad. It was delayed but now we have it.
And… actually, it’s not bad, though being a Sallis piece, it can’t refrain from getting some poetry in. Result – sex, drugs, disassociation with reality. It seems to be about changes through fractured elements of time, which seem to relate to Jerry’s mental breakdown. Although there are parts and characters regular readers of the Moorcock stories will recognise, this is not a typical Jerry Cornelius story. Its purpose may be unclear – much of it seems dream-like, suffused through a drug-induced haze – but dare I say it, it is a good Jerry Cornelius story. 4 out of 5.
Period Piece by J. M. Rose
A brief allegorical stream-of-consciousness story, set in some sort of dystopia or post-apocalyptic event. Sallis and Moorcock seem to love these sorts of stories, which read as if they’re some sort of weird dream. (This one has chickens hatching in the writer’s mouth and a pubic hair frozen in an ice cube, for example.) The prose is deliberately provocative, but this is nothing really new. 2 out of 5.
Kite by Barry Bowes
Artwork by Gabi Nasemann.
This is almost a kitchen-sink drama, a description of Noreen Polltoaster, a young primary school teacher who longs to escape her mundane, safe lifestyle and do something more daring with her life. Her response is to go out in the rain wearing nothing but a coat and lie down naked in a park, where she is spotted by two young boys. The inner monologue is well done, and the sense of dullness created is impressive, but the story all seems, like Noreen’s life, rather pointless. A safe and rather boring 3 out of 5.
Construction by Giles Gordon
A story as odd as the previous one, about the construction of a building and observations from it. It is all angles and girders and views of crowds, as the author mumbles precariously about who-knows-what. This is typical Giles Gordon stuff. I’m not a fan, personally but some may like it, in that now-typical “read the poetic prose, never mind the meaning” kind of way. 2 out of 5.
Article: Salvador Dali: The innocent as Paranoid by J. G. Ballard
J. G. “Chuckles” Ballard this month first tries to distil the meaning of the work of surrealist artist Salvador Dali. Lots of cutup sections and pictures, including the intriguing table below.
Table made up by J. G. comparing different writers. Notice the positioning of Pohl and Asimov and that of Burroughs (presumably William S., not Edgar Rice!), a sign of where this magazine seems to be going.
I would say that this is perhaps the article Ballard was born to write. Interesting, entertaining, and very odd, yet suited to Ballard. 4 out of 5.
The Spectrum by D. M. Thomas Artwork by Haberfield.
More D.M. Thomas. I was slightly more interested when it said that the poem was “after the Xi Effect by Philip Latham”, a story I’m sure I’ve read at some point, but I was sadly disappointed. A poem of the end of the world, and suspender belts. Moving on… 2 out of 5.
Another anti-war, or at least anti-military story by Sladek. Similar in style and tone to Disch's Camp Concentration, this gains points by being briefer, yet nearly loses points by being perhaps too similar in style and tone.
Pictures, poetry, extracts of text all combine to create this collage. 4 out of 5.
The Adventures of Foot-fruit by Mervyn Peake Work by Mervyn Peake.
Part of an unfinished work by the recently deceased Mr. Peake.
The Angstrom Palace by C. J. Lockesley
Artwork by Prigann.
Another fractured dreamscape. Nice prose but really nothing of consequence. 3 out of 5.
The return of Norman. Prose made up of slogans, interspersed with unanswered questions. Manages to combine contemporary cultural references with paranoid ideas – life’s all a conspiracy, really. Though we’ve seen work like this before – see John Dos Passos, John Brunner and yes, good ol’ J. G.. I liked this one for its distrustful manner. 4 out of 5.
How Doctor Christopher Evans Landed on the Moon by J. G. Ballard
And writing of J. G., here’s a short prose piece. This one took a bit of working out, but it seems to show an unsuccessful Moon landing in the form of a computer print out, even when the computer program says it is successful. (Notice the velocity at zero feet.) One where you have to join the dots yourself, so to speak, and all the better for it. Mind you, I was a little disappointed to discover that this was not the welcome return of science article writer Christopher Evans! 3 out of 5.
Since the publication of his novel The Crying of Lot 49 in 1966, I’ve not read much from this writer, although he seems to be gaining a reputation for writing dense, complex literary novels – something that seems to fit in with New Worlds’s current agenda.
So, as expected, this is a complicated, fractured story dealing with physical and metaphysical change. There’s lots of talk about heat exchange and metaphysical allegory across different time periods.
Reading this, I think that this is what the ‘new’ New Worlds aspires to be. It is deliberately obtuse and stubbornly literary in style. I don’t think I got it all, but it seems meaningful, unlike other similar stories New Worlds often publishes. I have to admire Entropy for being partly confusing, partly irritating, and yet undeniably damnably clever. 4 out of 5.
Article: Mervyn Peake – An Obituary by Michael Moorcock
As mentioned earlier, and as the title explains. Moorcock praises Peake’s work whilst pointing out the irony that his work was only now becoming better known as his health was failing. Untapped potential, sadly.
An advertisement from this issue of Peake's better-known work.
Book Reviews
A varied list this month. M. John Harrison covers a range of books that look at social class and modern myths, R. Glyn Johns reviews some psychological material and Marshal McLuhan, and Peter White discusses some surrealist literature. None is really genre-related.
Onto the science stuff, and Charles Platt positively reviews Arthur C. Clarke’s The Promise of Space amongst others.
More science-fictional in nature, James Cawthorn reviews Philip K. Dick’s ‘uneven’ The World Jones Made, the ‘refreshingly simplistic’ Analog 3 edited by John W. Campbell, and the limited adventure novels Assignment in Nowhere and A Trace of Memory by Keith Laumer. The Best of Fantasy & Science Fiction 13 edited by Avram Davidson is generally received favourably, even when Zenna Henderson’s People story is described as ‘soggy’. The Rest of the Robots by Isaac Asimov succeeds only too well, and SF: Author’s Choice edited by Harry Harrison is as fascinating and as diverse as you would expect. Cawthorn finishes with brief reviews of Orbit 3, edited by Damon Knight and A Far Sunset by Edmund Cooper.
Briefly mentioned and reviewed by D.R.B. are a number of books also received.
Summing Up
Perhaps inspired by the new publishers, this issue of New Worlds feels like a sort of reset. More than ever before, I think this issue shows New Worlds' desire to be a literary magazine. Yes, there is a mixture of new and old authors, but it feels like more than ever before the emphasis is on literary material you wouldn’t read elsewhere. For better or worse, you'll not get an issue of Analog or The Magazine of Fantasy & SF like this.
Why am I not surprised to see this advert for a controversial new album here?
"Gideon"—the very name connotes greatness. Grandeur. Brilliance. Romance. Surely, any world with that namesake must be a living paradise. So it is no wonder that the Federation bought the reports sent from planet Gideon declaring it to be just that. No wonder that the Federation would tie itself in knots so as not to jeopardize the chances of welcoming Gideon to the Federation.
Unfortunately, Gideon has other plans.
From the moment Captain Kirk, the sole allowed representative of the Federation, beams down to Gideon, "The Mark of Gideon" catches your attention. We've seen Kirk on an empty Enterprise before—in "This Side of Paradise", "By Any Other Name", and (sort of) "Wink of an Eye", but it's no less effective for its repetition. Sure, it's just a re-use of the standing sets on Stage 9, but then so was "The Tholian Web", "The Omega Glory" and "Mirror, Mirror". Indeed, because we have seen the sets used to represent other ships and other dimensions, the audience has already been trained to think in terms of historical precedents rather than the true situation.
That true situation, of course, is that Kirk is actually in a fantastically detailed replica of the Enterprise, so good that it takes him a (credulity-stretching given how quickly Spock figures things out) long time to figure out that he's not on his beloved ship. But fairly quickly, the episode's focus returns to the real Enterprise and Spock doing his usual sterling job in command, the "Mark of Gideon" becomes less "Where is Everybody?" and more "Stopover in a Quiet Town" (respectively, the first episode of The Twilight Zone, and one of the very last).
The plot is quite simple: Gideon was once Heaven-on-Earth, but it has since become a Malthusian nightmare due to the one-two punch of no native diseases and a fanatical reverence for life. Only the very privileged get a few square meters of space to themselves (Holy Shades of the Soviet Union, Batman!) So, the Gideon council hatches a plan to capture Kirk, withdraw some of his blood, and use the lingering, though harmless, remnants of Vegan Meningitis therein to infect Odona, the council chair's daughter. She will then serve as an example and a vector to infect the rest of the population of Gideon, which presumably will be devastated before natural immunity kicks in (or enough Gideonites stop wanting to be sick).
"Father, could I have a Bayer? No other aspirin works better."
The real problem with this episode is not the story, nor the effective bits with Kirk and Odona on the empty ship, nor the entertaining segments featuring Spock sparring with Chairman Hodin. It's that the plot and the events don't match up.
Regarding the disease: it's not stated what happens if mortality turns out to be 100%, or what the Gideonites will do once the disease loses its lethality.
It's never explicitly stated, either, why (or how) the Gideonites went through the trouble of building a replica of a starship on their surface for the purpose of letting Kirk wander around in it. If all they need is his blood, he could have been kept unconscious for the nine minutes required to take his blood and then sent back to the Enterprise with some kind of cover story. Did the plan really require that Odona join Kirk in the simulated halls of the starship? Did she really need to fake falling for him?
"I have. to. kiss you. Odona. It's in…the script."
I really want this episode to work. Not just because it bears an absolutely terrific name, but because it is genuinely entertaining to watch from beginning to end. Our crowd advanced a few hypotheses that I like. The best was that the ship was Odona's idea, and like the Dolman from "Elaan of Troyius", she could be refused nothing. Moreover, there was an intense voyeuristic desire on the part of the Gideonites to see beings in a truly open space, so this plan killed two birds with one stone. Another is simply that Kirk was drugged when he woke up, and the mock-up didn't need to be perfect (a la last year's Assignment: Moon Girl).
As for the idea that it is hypocrisy for the Gideonites to value life yet hatch a scheme to indirectly kill billions (trillions?), I am reminded of the orthodox Jew who could not turn on a light switch himself on the Sabbath, so he cannily lifted his infant son (too young to be bound by mitzvot) to within flicking range of the switch. And religion is, indeed, in the crosshairs of this episode, for did not Pope Paul VI this summer enjoin Catholics from using The Pill, humanity's main hope of stopping the population boom?
I'm writing this piece in the cold light of day, when I should be more inclined to savage the episode in light of its inconsistencies and absurdities. But I find myself feeling charitable—perhaps it's because director Jud Taylor finally seems to be finding his sea legs (even if Shatner. did. employ many. unnecessary pauses. last week).
Three stars.
Deeply Creepy
by Jessica Dickinson Goodman
Maybe it was the feral cats yowling over my fence in the middle of the episode, but this is for my money the creepiest episode we've seen yet. Something about those yearning, horrifying disembodied faces just got me right in the shivvers.
It also had me thinking about ferality, about what happens when something once tamed becomes unruly. Consider pigeons. Tamed and bred by humans for 10,000 years as messenger birds, companions, and beauties, only to themselves over the course of a bare century transition back to a wild world that they had never been prepared for.
The people of Gideon likewise seem to be at the devastating mercy of a too-too civilized society whose very progress towards perfection endangers their lives. Yes, I felt the storytelling placed too heavy a burden on just telling us that they love sex too much to prevent vicious overcrowding — a cultural quirk that felt too big to swallow. But the feeling of confinement, of encroachment and enclosure came through loud and clear.
In a way, their whole society had become feral: bred and evolved for specific purposes and suddenly set adrift with all of that breeding and evolution still in place, but none of the supports and expectations which allowed it to happen in the first place. The individuals seemed civilized enough, grading on a curve of aliens we've seen thus far, but the entire concept of a society so desperately, brutally crowded seemed fundamentally wild to me.
Let's get to the criticism. As beautifully creepy as the premise was, the synthetic bodysuits and wobbling crowded walks outside the windows were closer to funny than horrifying. The question of where they got space to build a 1:1 model of the Enterprise also beggared belief. Some science fiction and fantasy writers believe you get one big lie, a total of one shocking premise that the audience will just go with you on because, hey, it's a genre story, them's table stakes. But you only get one.
For me, the Big Lie of this episode was that Kirk was lost and wandering around a completely empty Enterprise. That was disturbing enough. But then it turns out many of the assumptions we'd taken on faith as an audience were false and that just felt like being crudely manipulated. I watch shows to be manipulated, but I like it to feel earned, not like I'm being rushed from plot point to plot point, each more giddily hideous than the next. She's not just a fake damsel in distress, she's the weirdo ruler's daughter! And a national hero! And dying of some exotic disease! That she wanted! So they could cull their society like a dairyman shrinks his herd when the price of milk is down!
That's just too many additional premises in one story for me.
Even Spock is incredulous of this episode
I wish we'd kept the lens tightly on Kirk and the crew and the mysterious woman. I wish the weirdo ruler's throne room had given us a hint that claustrophobia was going to be the enemy of the day. And I wish we'd gotten more of the woman actress, she was doing so much with so little. I hope we see more of her.
Overall, this piece will be memorable for its premise and a few fine lines, but the execution was lacking.
2 stars.
How Crowded Is This Place?
by Erica Frank
Odona says, "There is no place, no street, no house, no garden, no beach, no mountain that is not filled with people." This sounds like the Earth of Harrison's Make Room! Make Room!: an overcrowded world, very little privacy, and extreme government measures to cope with the seemingly infinite population. (Can you imagine living on a planet with seven billion people, as we're expected to have on this planet by the year 2000?)
However, we get glimpses that imply it's worse than that. We are led to infer, from the masses of people in plain bodysuits visible behind the High Council room, that the planet is literally so crowded that they don't have space for a few rooms for office work. That aside from their fake Enterprise, there is no empty 20'-by-20' room on the planet.
The real question isn't "are there really that many people" but "why do they have a viewing window into the High Council room?"
I reject this notion. I believe Gideon is crowded, yes, but not that it's so packed that most adults spend their waking hours packed like sardines, slowly bumbling around in huge crowds.
If that were so, how would they even find space to make the fake Enterprise? What happened to the people displaced by it? No, while I can accept that Gideon is "full of people," I cannot believe they are literally shoulder-to-shoulder across the planet, nor even "…except for special cases" like childbirth and whatever space is needed to design and sew the High Council's uniforms.
Perhaps they're made of hexagons because they can be assembled by hand — no space for a sewing machine necessary.
Do the people have jobs? Families? How are children raised? How do they maintain a culture focused on the "love of life" if they are just walking around staring at nothing all day?
My answer: The people we see are probably tourists — visitors to the Capitol, hoping for a rare view of the Council chambers, which is separated by one-way glass. They may be required to keep moving; that gives everyone a chance to see the Council when the glass is raised, perhaps a few times a day.
This is a ridiculous conclusion, but the whole episode is ridiculous. A culture that refuses birth control on ethical grounds will use a fatal disease to cull their populace? How will they decide who to infect — will they be selected by computer and told to line up for it, as in A Taste of Armageddon? Or will they volunteer to die, these miserable people who reject diaphragms, IUDs, and condoms because life is too sacred to prevent?
The individual scenes of this episode were fascinating but the underlying story just doesn't add up. Two stars.
Old Fools
by Joe Reid
The story this week was about a people claiming to love life so much that they couldn't harm one another, and so long-lived that they developed an overpopulation problem. Overpopulation so severe as to cause them to lure a Starfleet captain who survived a deadly space disease to their planet to infect them with the pox. Why? Perhaps this seemed like the most interesting way to die? For people who love life their treatment of every life seemed to be just the opposite.
Let’s start off on the grand scale. Unlike most of the technically advanced races in the galaxy, the Gideonites lacked the most basic imagination when it came to needing more space. If there isn’t enough space where you are, go somewhere else and find some. Am I to believe that a people who could perfectly reproduce a spaceship as a ruse weren’t able to produce their own ships to take them to other planets to spread out? What weak imaginations these advanced humanoids must have had to not consider that most basic of solutions. During his career Kirk had been to dozens if not hundreds of worlds where a hardy race like the Gideonites could expand.
The next charge affirming the utter hypocrisy of the Gideonites had to do with how freely they lied. Although it might not be fair to lay this charge at the feet of all the people, their leaders certainly were not honest Abes. They lied about transport coordinates. The location of the captain. The girl lied about her origins, claiming to know nothing about Gideon. The entire fake ship was a lie. They only ever resorted to the truth after each specific lie was uncovered, and not a minute sooner. It might explain how these leaders came to power. Even in our world, you don’t come to power by telling the truth. It makes me wonder if the planet was even named Gideon, although saying, “welcome to the planet Marcus”, doesn’t quite roll off the tongue.
[Au contraire, mon ami. We've already had a planet Marcus 12 in "And the Children Shall Lead". If Odona emigrated from planet Gideon to planet Marcus 12, she'd be "Odona Gideon Marcus 12" (ed.)]
"Not only have we no space, but I am using the planet's only hairpiece!"
If they really did love life, it must only have been the lives of their own people. These Gideonites showed a complete lack of basic empathy for anyone who wasn’t them, for example, concocting a plan that lured an alien captain to their world to kidnap, imprison him, and bleed him dry. These actions sure sound out of character for the "lovers of life" they purport to be. In truth, the Gideonites were unimaginative in every sense of the word. Trapping their own people on a planet that can’t support them is evil for an advanced technical society. Using misdirection and bad faith negotiation tactics to carry out their shortsighted plan was contemptible. Making the incarceration and blood letting of an unsuspecting victim their plan to save a planet was morally bankrupt. Attempts by the leader's daughter to redeem their reputation by choosing to sacrifice herself in the end fell flat for me. There wasn’t enough good in the episode to salvage it from the bottom.
One star
[Come join us tonight (January 31st) for the next thrilling episode of Star Trek! KGJ is broadcasting the show live with commercials and accompanied by trekzine readings at 8pm Eastern and Pacific. You won't want to miss it…]
Last month, I began this article just hours after the crew of Apollo 8 returned safely to the Earth from their historic mission around the Moon. But even while the mission was in progress, I felt that it might be best to wait to tell the story of the lunar flight in detail, until it could be illustrated with the photographs taken by Col. Borman, Major Anders and Capt. Lovell during their epic journey – images whose breathtaking full-colour views were only hinted at in the low-resolution b/w television broadcasts and the astronauts’ excited descriptions of what they were seeing during the mission.
"Oh my God!" is what Astronaut William Anders said just before he took this awe-inspiring photograph of the Earth rising over the Moon, as seen from lunar orbit. That was my exact response – and yours, too, I expect – on first seeing this incredible sight. I confidently predict that this amazing view will become one of the defining images of the Space Age
Now that we can see for ourselves the awesome sights that the Apollo 8 crew witnessed, I think I made the right call.
On Course for the Moon
We left Apollo 8 on the way to the Moon, after a successful translunar injection. Just 30 minutes later, the CSM separated from the S-IVB stage, which was ordered to vent its remaining fuel to change the stage’s trajectory. The S-IVB gradually moved away from the CSM and is now in orbit around the Sun.
Fuel venting isn't visible in this image of the jettisoned S-IVB stage, but small debris from the separation can be seen floating around it. Although Apollo 8 carried no Lunar Module, this shot shows the LM test article contained in the S-IVB stage
As the crew rotated their spacecraft to view the jettisoned stage, they had their first views of the Earth as they moved away from it—the first time human eyes have been able to view the whole Earth at once. The perspectives of the two images below, taken less than 45 minutes apart, help us gain an impression of how fast the Apollo spacecraft was travelling (around 24,200 mph).
Taken just around the time of TLI, this view from high orbit shows the Florida peninsula, with Cape Kennedy just discernible, and several Caribbean islands
The view of Earth after S-IVB stage separation. From the Americas to west Africa, and from daylight to night, for the first time humans could see their entire planet at a glance!
Mission Commander Borman has said that he thought this must be how God sees the Earth, while Astronaut Lovell felt he was driving a car into a dark tunnel and was watching the entrance dwindle into a distant speck! But perhaps Major Anders best summed up the awesome view: “How finite the Earth looks. Unlike photographs people see there’s no frame around it. It’s hanging there, the only colour in the black vastness of space, like a dust mote in infinity.”
On the way to the Moon, the CSM adopted the PTC (Passive Thermal Control) or “barbecue” mode tested on Apollo 7, slowly rotating the spacecraft to keep temperatures evenly distributed over its surface. As the CSM turned, every so often the Earth would appear in one of the windows, making the astronauts aware that they were travelling away from their home planet: it became steadily smaller, until eventually they could cover the whole Earth with a thumb.
Where No Man Has Gone Before
I’m stealing that wonderful Star Trek catch phrase because soon after the S-IBV jettison, Apollo 8 surpassed the altitude record set by Gemini 11 in 1966 and was truly setting out into that “new ocean” of space only previously traversed by unmanned probes.
The coast to the Moon was relatively uneventful, with only a few issues arising, including some window fogging, like that experienced on Apollo 7, and a bout of space sickness that it was initially feared might lead to the cancellation of the orbits around the Moon.
Col. Borman reported diarrhoea, nausea and vomiting (none of which you want to have in weightlessness, given the unpleasant consequences!) and both Lovell and Anders also said they did not feel too well. Dr Charles Berry, the medical director at Cape Kennedy, at first feared a 24-hour viral gastro-enteritis that might “play ping-pong”, with the crew re-infecting each other and leaving themselves too weak to carry out their complex tasks correctly. Fortunately, with longer sleep periods, medication and additional rest, the complaint cleared up and did not prove a showstopper for the mission.
The first mission status report for Apollo 8, sent to the NASA tracking stations around the world, for release to local media. Dated some 19 hours after launch, it outlines some of the activities of the early part of the coast to the Moon
A slight course correction saw the large SPS motor fired for the first time, providing a check that the spacecraft’s main propulsion system was working correctly. Had there been any problems, Apollo 8 would not have gone into lunar orbit, but looped around the Moon to return to Earth.
Out of this World Broadcasts
About halfway to the Moon, at 31 hours and 10 minutes after launch, the astronauts conducted the first of six television broadcasts during the mission. Like Mission Commander Schirra on Apollo 7, Borman was apparently not in favour of television broadcasts – holding that the weight of the camera was better used for other equipment and additional food supplies – but was overruled by NASA.
For this first deep space show, the approach was light-hearted, with the opening scenes from the spacecraft showing Capt. Lovell upside down in the lower equipment bay making jokes about preparing lunch. Bill Anders played with his weightless toothbrush, with quips from Frank Borman about his crewmate cleaning his teeth regularly. Jim Lovell sent birthday wishes to his mother. The crew tried to show us the Earth through the one of the CM windows, but without a viewing monitor, they couldn't quite capture it in their camera's field of view.
Astronaut Anders shows us his toothbrush (top) and Jim Lovell wishes his mother "Happy Birthday" (bottom) during Apollo 8's first deep space broadcast
The astronauts were disappointed to find their view of the approaching Moon was washed out by the Sun’s powerful glare. It should have been a spectacular sight to see its cratered surface increasing in size and detail as they closed in, but they were not able to get good views of the Moon until they were relatively close. However, during their second television broadcast, 55 hours into the mission, the crew of Apollo 8 were finally able to capture the Earth through one of their spacecraft's windows.
While the resolution of the image may not have been very high, this first ever live view of our planet from 180,000 miles out in space was yet another step in science fiction being made into reality! During the 25 minute broadcast, there was a delightful exchange between Lovell and Anders, with Capcom Michael Collins in Houston, wondering what a traveller from another planet would think of the view of Earth from that distance, and whether they would imagine it was inhabited.
The Apollo 8 second broadcast view of the Earth as we saw it on television (above) and how Capcom Collins saw it on his monitors in Mission Control (bottom). Would alien visitors to our solar system think anyone lived there?
Moving into the Moon's Sphere of Influence
Shortly after their second broadcast, Borman, Lovell and Anders became the first humans to leave the Earth’s sphere of gravitational influence: they were 202,825 miles from Earth and 38,897 miles from the Moon. This move into the lunar gravity field meant that soon a decision would need to be made as to whether or not Apollo 8 would go into lunar orbit, or loop around the Moon and return directly to the Earth. So concerned was Col. Borman about any trajectory perturbations that would preclude the spacecraft from achieving lunar orbit that he even checked with Houston before dumping urine overboard!
A view of the Moon, finally visible as Apollo 8 approached and prepared to go into orbit
Then came the moment to go behind the Moon – and the decision whether or not to orbit. “Apollo 8 this is Houston,” Capcom Jerry Carr called. “At 68 hours 4 minutes you are Go for LOI (Lunar Orbit Insertion).” But the necessary SPS engine burn to change the CSM's trajectory from "free return" to lunar orbit had to take place above the far side of the Moon, where Apollo 8 would be completely out of contact with the Earth.
On 24 December, just on 69 hours after lift-off, Apollo 8 slipped behind the Moon. Col. Borman was so impressed with the exact predicted timing of the loss of communication with the Earth that he joked about whether the Manned Space Flight Network had turned off its transmitters! But, in truth, the situation was very tense, as all the astronauts and Mission Control could do was wait and hope that all would go well with the burn to put Apollo 8 into lunar orbit. The Service Propulsion System engine had to work perfectly, or the astronauts would be in serious trouble.
The Manned Space Flight Network station at Honeysuckle Creek, near Canberra, was tracking Apollo 8 as it went behind the Moon and received the first signals as it re-emerged, safely in lunar orbit
Fortunately, Apollo 8 slowed in response to the 4 minute 6.9 second burn – “Longest four minutes I’ve ever spent,” according to Capt. Lovell. This put the spacecraft into a 194 x by 69 mile orbit around the Moon after a Trans-Lunar Coast of 66 hours 16 minutes and 22 seconds.
Round (and Round) the Moon
Safely in orbit, the plan was for Apollo 8 to make 10 orbits around the Moon over a twenty hour period. Even though the far side of the Moon was first seen as far back as 1959, by the USSR's Luna 3, the first order of business was for the crew to observe the far side surface for themselves. The three astronauts were stunned by the crater-pitted Moonscape sliding below them, revealing a tortured terrain so unlike the familiar face of the Moon. Out of contact with the Earth, totally isolated from home, Borman, Lovell and Anders forgot their mission for a few moments to press their faces against the CM windows and soak up the sights!
The astronauts were not exactly impressed with the gritty, grey, plaster-like surface they observed as they orbited the Moon. Col. Borman described it as as “[looking] like the burned-out ashes of a barbecue,” while Capt. Lovell said “It’s like a sand pile my kids have been playing in for a long time. It’s all beat up with no definition. Just a lot of bumps and holes.” Major Anders felt the surface looked "whitish-grey, like dirty beach sand with lots of footprints in it.”
Jim Lovell's "sand pile" on the Moon!
Back on Earth Mission Control held its breath, waiting for Apollo 8 to re-emerge from behind the Moon and confirm that the SPS engine had performed as planned. But once the crew were back in contact with Earth, a packed routine of surface observations was quickly established: these images comprise the bulk of the more than 800 70 mm still photographs and 700 feet of 16 mm movie film that the astronauts took during the mission. Among their tasks, the astronauts observed Earthshine (the light reflecting from Earth shining on the dark face of the Moon) – which they found provided enough light to see surface features clearly – and took detailed photographs of the area within the Sea of Tranquillity where, all going to plan in the next few months, the Apollo 11 mission will make the first manned lunar landing.
On the second orbit, Apollo 8's 12 minute long third television broadcast was almost entirely dedicated to allowing us back on Earth to see the astronauts' view of the Moon. Even when it was difficult to see much detail in the views of the lunar surface passing below the spacecraft, this broadcast made us, as it were, part of the mission.
View of the Moon's surface during the third Apollo 8 television broadcast
Earthrise
Busy with lunar surface observations, during their first three orbits the Apollo 8 crew failed to even notice an incredible sight. It was not until their fourth orbit that the astronauts experienced perhaps the most sublime view provided by space exploration to date – the vision of the Earth rising above the lunar horizon!
On this fourth orbit, a navigation sighting meant that the CSM was rolled to look outwards into space instead of down towards the Moon's surface. As the lunar horizon came into view, the astronauts witnessed a magnificent sight – the cloud-mottled blue orb of the Earth swimming into their view.
Awestruck, they scrambled so quicky to capture the vision that no-one is quite sure now who took which picture, although it seems that Col. Borman may have snapped the first black and white photograph, and Bill Anders a number of breathtaking colour images of the Earthrise.
Apollo 8's Earthrise images are usually published oriented with the lunar horizon at the bottom, as that is how we are used to seeing the Moon rising over the horizon on Earth. But the orientation of astronauts' orbit meant that they actually saw the Earth appearing to rise 'sideways', as seen in this original version of Major Anders' photograph
While Apollo 8 isn't the first space mission to capture the vista of the Earth rising over the Moon – that honour goes to Lunar Orbiter 1 – the impact of the superior quality and colour of the astronaut's photographs is profoundly inspiring, and Major Anders' evocative Earthrise image is already well on its way to becoming the most reproduced image of the Space Age so far.
This spread from the 15 January issue of the Australian Women's Weekly is just one example of thousands of magazine and newspaper articles already featuring the Earthrise photograph and Apollo 8's other amazing pictures
I'm so moved by the Earthrise image that I find it hard to put all my feelings into words, but perhaps those I quoted above from Astronaut Anders go some way to expressing them, as do Captain Lovell's similar thoughts on the view: “The vastness up here of the Moon is awe inspiring. It makes you realize just what you have back there on Earth. The Earth from here is a grand oasis in the blackness of space.”
This view of the living Earth in the immensity of the Cosmos truly brings home to us the fragility and isolation of our home planet and its finite resources, providing the visual encapsulation of the expression "Spaceship Earth" popularised over the past few years by Buckminster Fuller among others. The environmental movement needs to utilise the power of this image to help encourage us all to be better stewards of the Earth and preserve our environment, so necessary for our survival, for future generations.
"Something Appropriate"
Acutely aware of the historic nature of the Apollo 8 mission, NASA wanted the astronauts to “do something appropriate” for their fourth television broadcast. Due to occur on the ninth lunar orbit, this finale to Apollo 8’s time at the Moon was scheduled for late evening on Christmas Eve in the United States (comfortably at lunchtime on Christmas day for us here in Australia). The program was to be transmitted via satellite to 64 countries (where it was seen or heard by an estimated one billion people!), so it was a major global event, comparable to 1967’s Our World broadcast.
What would be appropriate for such an international audience? The astronauts wanted to present something spiritually significant and memorable, but not overtly religious, that would be relevant at Christmas to both Christians and the millions of non-Christians who would be tuning into the broadcast. It seems that the wife of a journalist (I’m sorry, I don’t know her name) suggested that they read from the opening of the Book of Genesis, which has meaning for many of the world’s religions and expresses concepts relevant to many other faiths. The crew liked this idea and planned to incorporate it into their broadcast.
A view of the Moon seen by the audience on Earth while the crew of Apollo 8 read from the Book of Genesis
The fourth telecast from Apollo 8 began with the astronauts talking about their impressions of the Moon and the experience of being in lunar orbit. Following some views of the lunar terrain, described by the astronauts as they passed over, Major Anders said that the crew had a message for everyone on Earth. In turn, Anders, then Capt. Lovell and finally Col. Borman read the first 10 verses of Genesis, as we watched the Moon’s surface pass by, with a view through one of the CM windows. Borman then ended the broadcast with “And from the crew of Apollo 8, we close with good night, good luck, a Merry Christmas and God bless all of you – all of you on the good Earth.” I watched this transmission at lunch with my sister’s family: it left us all profoundly moved.
Families around the world gathered on Christmas Eve/Christmas Day (depending on where you were!) to watch Apollo 8's broadcast
Set Course for Earth
Two and a half hours after the end of the fourth television broadcast, on Apollo 8’s tenth lunar orbit, it was time to perform the trans-Earth injection (TEI). This manoeuvre was even more critical than the one which had brought the CSM into orbit around the Moon: if the SPS engine failed to ignite, the crew would be stranded in lunar orbit. Like the previous SPS burn, this critical firing had to occur above the far side of the Moon, once again out of contact with the Earth. Despite all the telemetry indicating that the SPS was in good shape, tension was high while the spacecraft was behind the Moon, but the burn was perfect and Apollo 8 re-emerged exactly on schedule 89 hours, 28 minutes, and 39 seconds after launch.
It was Christmas Day, and when voice contact was restored with Houston, Lovell announced to the world, “Please be informed, there is a Santa Claus” – apparently for the benefit of one his sons, who had asked before the flight if his father would see Santa while visiting the Moon.
A view inside the Command Module, during the fifth Apollo 8 television broadcast
At about 100 hours and 48 minutes after launch, Apollo 8 crossed back into the Earth’s sphere of influence and began gradually speeding up. After the astronauts carried out the only required midcourse correction at 104 hours into the mission, the crew had some time to relax before their fifth television broadcast. During this 10 minute transmission, they gave viewers a tour of the spacecraft, showing how they lived in the weightless environment.
An image from the fifth broadcast taken directly from a monitor at the Honeysuckle Creek tracking station. It shows Bill Anders demostrating how to prepare a meal
A Christmas Dinner to Remember
After the broadcast, the crew were finally free to tuck into their Christmas dinner – and found a surprise in their food locker. It was a specially packed Christmas dinner wrapped in foil and decorated with red and green ribbons! A gift from Director of Flight Crew Operations Deke Slayton, the special meal included dehydrated grape drink, cranberry-applesauce, and coffee, as well as a new “wetpack” containing turkey and gravy. Also hidden with the surprise dinner, the astronauts found small presents from their wives.
Slayton also included three miniature bottles of brandy with the meal, although Borman decided that they should be saved until after splashdown!
The astronauts thought the food was delicious, more like a TV dinner, and much more appetising than the food they had been eating on the mission. In fact, the crew had found their meals so unappealing that they had been under-eating throughout the mission, so their turkey dinner was a real morale booster.
The new “wetpack” container is breakthrough in space food development: a thermostabilized package that retains the normal water content of the food, which can be eaten with a spoon. I’ll have to write more soon about space food, as the new meals and menus that are being developed for Apollo lunar missions are a real breakthrough in astronaut nutrition.
The Final Leg
The return cruise to Earth was the quietest part of the mission for the crew, giving them time to rest after an eventful historic mission. Around 124 hours into the flight, the astronauts broadcast their sixth and final telecast, showing the approaching Earth during a four-minute broadcast.
The crew also had time to take more spectacular photographs of the Earth, such as this image of Australia as they homed in towards their eventual splashdown in the Pacific Ocean.
Re-entry is the most dangerous phase of any spaceflight, and Apollo 8 marked the first time that a manned spacecraft had returned from the Moon, re-entering the atmosphere at 24,695 miles per hour! The spacecraft had to enter the Earth’s atmosphere at an angle of 6.5 degrees, with a safe corridor only 26 miles wide – there was very little margin for error!
After jettisoning the Service module and turning the CM around so its heat shield was facing in the direction of flight, Apollo 8 entered the atmosphere, deceleration hitting the astronauts with forces up to 7 Gs, and temperatures outside the spacecraft reaching 5,000 degrees.
Apollo 8's re-entry, captured by one of NASA's Apollo Range Instrumented Aircraft that operate as airborne tracking stations
Ionized gases around the spacecraft caused a three-minute communications blackout period. But Apollo 8 came through and safely deployed its three main parachutes, splashing down in the dead of night local time, in the North Pacific Ocean, southwest of Hawaii, home safe after a momentous mission which even the crew had rated themselves as only having a 50% chance of a successful return!
Map of Apollo 8's splashdown area
Recovered by the USS Yorktown, Borman, Lovell, and Anders were in excellent health after a flight of 147 hours. They returned to Houston for several weeks of debriefing, but he success of their flight means it is now clear that the likelihood of meeting President Kennedy’s goal of a Moon landing before the end of the decade is much higher: Lt.-General Phillips, head of the Apollo programme, has already said there is a slim chance Americans could land on the Moon with Apollo 10 in May or June – one flight earlier than presently planned
After their recovery, the Apollo 8 astronauts addressed the USS Yorktown's crew, very glad to be home!
“You Saved 1968”
As I noted at the beginning of the first part of this article, 1968 was a year that saw much upheaval around the world. Yet Apollo 8 allowed the year to end on a hopeful note, with its technical triumph of the first manned mission to the Moon, its awe-inspiring views of the Earth from space, and the deeply moving “Genesis broadcast”. Its impact has been beautifully summed up in a telegram from an anonymous well-wisher to Col. Borman which simply said, “Thank you Apollo 8. You saved 1968.”
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For the influence and impact of their mission, Time magazine has chosen the crew of Apollo 8 as its Men of the Year for 1968, while Life has selected the post-TLI image of the Earth for the cover its 1968 retrospective issue.
The Apollo 8 astronauts have been honoured for their successful mission with ticker tape parades in New York, Chicago and Washington, D.C; they have spoken before a joint session of Congress, and been awarded the NASA Distinguished Service Medal by President Johnson. Has Apollo 8 won the Space Race for the United States? I think it's too early to say, especially in light of the recent Soyuz 4 and 5 missions. But NASA is certainly giving the Soviet Union a run for its money!
Another new year rolls around, and we have a new writer to welcome to Doctor Who: Robert Holmes. Before you ask, no relation. At least I don't think so. Regardless, whenever he writes something I like, I will be claiming him as part of the family.
So, am I claiming him as kin today? Let’s find out, and join the Doctor as he shows the youths that their school is just a brainwashing tool to keep them in line, and introduces them to the wonders of acid. Here are my thoughts on "The Krotons".
On a planet with two suns, sunburn is a real killer.
The last quarter of 1968 had the newsmen on tenterhooks. After the flight of Zond 5, many suspected the Russians would try for a flight around the Moon. Would they get there before the hastily rescheduled Apollo 8?
They did not, and now it seems they are taking a different tack, trying to progress in endeavors closer to home. On January 14, the Soviets launched Soyuz 4 into orbit carrying a single cosmonaut, Vladimir Shatalov. This was ho hum stuff—the putatively multi-man Soyuz was once again carrying a single occupant. Ah, but on the 16th, Soyuz 5 took off with cosmonauts Boris Volnyov, Aleksey Yeliseyev, and Evegenii Khrunov, the first three-seat flight since Voskhod 1, four years ago.
More than that, the two craft docked in orbit, the first time two piloted craft have managed the feat. Then Yeliseyev and Khrunov donned space suits, opened their hatch, and walked next door. They weren't visiting for a cup of borscht; they were there to stay, and they bore gifts: newspapers and letters from after Shatalov had taken off! The next day, Soyuz 4 landed with the two new passengers. As of this article's going to press, Volnyov should have landed his Soyuz 5—safely, I trust.
The Soviets are already beging to hail the mission as the construction of the first station in space, and there's no doubt that a lot of firsts have been scored. On the other hand, the two Soyuz craft were only linked for a few hours, and there was no easy way to get between the two craft. Really, they haven't done anything that couldn't have been done during our Gemini program.
That said, this may only be the beginning. Unlike Voskhod, which only comprised a couple of flights, there have been a number of Soyuz missions, both manned and unmanned, so it's probably only a matter of time before a truly ambitious trek is managed, perhaps a real space station.
What's more impressive? American boots on the Moon, or a permanent Soviet presence in near Earth orbit? You be the judge.
Mail's in!
The latest issue of F&SF offers a myriad of treats that are, in some ways, as exciting as today's space news. Let's dive in:
Another splurty cover by Russell FitzGerald
Attitudes, by James H. Schmitz
Azard is one of the Malatlo, the group of peaceniks who have divorced themselves from the Federation of the Hub. Years ago, the Malatlo were given their own planet, far away, but next door to the Raceels, an up-and-coming race, so that the separatists might not be too lonely.
Now war has destroyed both worlds, and Azard is being escorted by three representatives of the Federation to a new world. It's a magnanimous mission…so why is Azard contemplating the murder of his benefactors? And is all really what it seems?
I found the telling of the story a bit talky and stilted, and yet, when I was done, I found the thing stuck with me, some of the scenes vivid in the extreme. So, four stars for a fine opening piece.
by Gahan Wilson
The Cave, by Yevgeny Zamyatin
Per Sam Moskowitz' introduction, this is the tale of the end result of Communism as envisioned by a dissident writer in 1920 Leningrad. As winter sets in, an impoverished citizen in the "equal" society wrestles with the urge to steal wood from an advantaged neighbor. Soviet Marxism thus results in reversion to Stone Age sensibilities.
An interesting curiosity. Three stars.
Nightwalker, by Larry Brody
Frank Whalen is a super-spy with a secret: his body shoots off electricity at will. He also has a super suit, which confers stealth, but also has the annoying side effect of causing an all-over itch. This tale rather straightforwardly details an adventure Whalen has behind the Bamboo Curtain, and how he escapes from a Red Chinese jail.
Probably the first in an ongoing series, there's not really enough of Whalen yet to hang on to, character-wise. If you like superhero comics, you'll probably enjoy this one, in a superficial sort of way.
Saxton is an English author whose work generally fails to resonate with me, but this time, she channels her inner Pam Zoline with this beautiful, stream-of-consicousness story. It deals with a prematurely old widow struggling with inexplicable migraines, deep depression, and an uncaring medical system that seems tailor-made to perpetuate the problem with useless nostrums and a callous ear.
The solution? Wine and a bit of angelic help.
It's a beautiful, moving piece, and it was well on its way to five stars before the typically British, bummer ending. Still four stars.
Drool, by Vance Aandahl
Justice Stewart once observed (essentially) "I can't tell you what pornography is, but I know it when I see it." Aandahl proves that, "when correctly viewed, everything is lewd" (thank you Tom Lehrer) in this effective vignette.
Four stars.
Twin Sisters, by Doris Pitkin Buck
A short poem personifying the rain. I liked it. Four stars.
Pater One Pater Two, by Patrick Meadows
Two 21st Century disasters combine to doom the 24th Century: a doomsday weapon renders all of the Earth uninhabitable save for Greece and Asia Minor, and a birth control initiative backed by technology has gone awry, preventing all new births. It's up to Jacson and Marya from the island of Xios to topple the remnants of the past to save the future.
An interesting, innovative tale. Four stars.
Uncertain, Coy, and Hard to Please, by Isaac Asimov
For this piece, I felt it was important to have a female perspective—you'll understand why…
by Janice L. Newman
Asimov’s most recent “Science” article is on feminism. He never uses the word, but feminism is what it argues: that men and women are inherently equal, and that it is only cultural and artificial distinctions that keep them from being equal. It’s an excellent screed. For many women it would be a revelation, particularly if they have had no prior contact with feminist ideas.
Some might take exception to the description of the male/female relationship as slavemaster/slave, but I do not. For too long women have been considered property, unable to own anything: not money, not land, not their own work and discoveries, not even their own bodies. Even today a woman cannot open a checking account at the vast majority of banks without her husband’s or father’s signature. Consider how crippling this is for an independent person in modern society.
I can’t agree with every argument Asimov makes. While I concede that courtly love is an artificial construct, one need only look to the animal kingdom to find plenty of animals that mate for life, and which become despondent if one of the pair is removed. Nor can I dismiss fatherly love as purely cultural. Children look like their parents, after all, and men who cared for partners and offspring were more likely to have children that made it to adulthood.
However, these are minor quibbles. Overall the piece is well thought-out and logical and usually right, and I believe it should be required reading for all fen…indeed, all persons.
Including its author.
Asimov is well-known for groping women at conventions: grabbing their backsides or their frontsides, even seizing and kissing women who had approached him in the hope of getting an autograph. I am certain that he thinks such behavior is flattering–indeed, he lists the "smirk and the leer" as among the petty rewards of being a woman in today's society. I cannot speak for all women; likely some did feel flattered by such attentions. But having talked with some of his victims, I know that this was not so in many cases.
I have never met Asimov in person. Perhaps friends have deliberately kept me away from him at conventions to protect me. At this point, it seems increasingly unlikely that I will ever meet him. But if I ever do, I would like to say to him, “You, too, wield the power of the slavemaster. The very ‘silliness’ that you decry as an artificial defense mechanism is exactly what is coming into play when you kiss a woman and she blushes and laughs awkwardly. Hers is a conditioned response born, at its heart, out of fear.”
Perhaps it is not surprising that Asimov apparently can’t make the extra leap to apply his reasoning to his own behavior. As excellent and revelatory as this piece is, it seems to come entirely from Asimov’s mind without any discussion with actual women. In fact, it’s unlikely that he’s had much opportunity to see things from a ‘feminine perspective’, considering the vast majority of media is from a male point of view. Not surprising, but it is saddening and frustrating.
I don’t know if I could convince him that he is not exempt, that however unthreatening he may think himself, society nonetheless places the slavemaster’s whip firmly in his hand. But perhaps, someday, he can: I think the man capable of writing such an important feminist piece could learn from his own words.
Five stars.
by Gideon Marcus
After All the Dreaming Ends, by Gary Jennings
A simple boy meets girl episode in wartime, just before the boy is to ship off to the European Theater of Operations. Except the girl isn't there—she's dying in a hospital bed 25 years later. To sleep, perchance to dream…and what a beautiful, romantic dream.
A sweet, wistful piece. I'm a sucker for love stories. Five stars.
A pleasant recounting
Well now—not a clunker in the bunch, and some Star material to boot. Indeed, this is the first 4-star issue of F&SF in the history of our reviewing the magazine! That's exciting news in the skies above and on the ground, and definitely enough to keep us renewing our subscription—to F&SF AND Aviation Weekly.
Star Trek has given us some great episodes this season. Sadly, Let That Be Your Last Battlefield was not one of them. It was ineptly written, poorly directed, and both ham- and heavy-handed in its delivery.
We've got a whopping ten titles for you to enjoy this month. Part of it is the increased pace of paperback production. Part is the increased number of Journey reviewers on staff! Enjoy:
From the author of Stand on Zanzibar, and also a lot of churned-out mediocrity, comes this mid-length novel. Can it reach the sublimity of last year's masterpiece, or is it a rent-payer? Let's see.
The band "Bruno and the Hermetic Tradition" (great name, that) have a bit of a Be-in on a deserted beach south of London. Their frivolity is marred by the appearance of a flight-suited zombie, half his face eaten away.
Strange happenings compound: the lushy Mrs. Beedle, who lives in a wreck of a home by the beach, suddenly starts appearing in two places at once. Those who encounter her find themselves doused with some kind of acid. Meanwhile, Rory, a DJ on the pirate radio ship Jolly Roger, hauls up a fish on his line that transforms halfway into a squid before breaking free.
The local constabulary, as well as the scientific types in the vicinity, are increasingly alarmed and then mobilized, as the true nature of what they're dealing with is determined: an alien or mutated being with the power to digest and mimic anything it encounters.
In premise, it's thus somewhat akin to Don A. Stuart's (John W. Campbell Jr.) seminal "Who Goes There". In execution, it's not. The rather thin story is developed glacially, with lots of slice-of-life scenes that are not unpleasant to read, but don't add much. Indeed, one could argue that it is possible to unbalance things too far in the direction of "show, don't tell"—Double, Double is written almost like a screenplay, with endless little cliff-hangers, and always from the point of view of the various characters.
Beyond the writing, the premise is fundamentally flawed: digestion is never 100% efficient. Heck, I don't think it's 10% efficient. And this creature can not only digest but duplicate, down to memories? Color me unconvinced. Also, we are lucky that it chose to come to land as quickly as it did—if it had just stayed in the sea, all of the sea life in the world would have been these… things… in very short order.
All told, this is definitely a piece written for the cash grab, perhaps even a recycled, rejected script for the TV anthology Journey to the Unknown. It's not a bad piece of writing, but I'll be donating it to my local book shop when I'm done.
Three stars.
by Brian Collins
For my first book reviews as part of the Journey, I got some SF and fantasy in equal measure. Neither are really worth it, but here we can see the difference between a deeply flawed novel and one that is virtually impossible to salvage.
I know it’s only been a few months since Piers Anthony hit us with his second novel, Sos the Rope, but he has already given us another with Omnivore. That’s three novels in two years! For all his faults, you can’t say he’s lazy. It’s quite possible that in thirty years there will be more Piers Anthony novels than there are stars in the sky.
Omnivore is a planetary adventure, not dissimilar from what Hal Clement or Poul Anderson would write, but with some of those “lovable” Anthony quirks. Here’s the gist: A superhuman agent named Subble is sent to investigate three explorers who have returned to Earth from the “dangerous but promising” planet Nacre, each with his/her trauma and secrets as to what happened. Why did eighteen people die while exploring Nacre prior to these three, and what did they bring back with them? There’s Veg, who as his nickname suggests is a vegetarian; Aquilon, an emotionally fraught woman who now has a case of shell shock; and Cal, gifted with a brilliant intellect but cursed with a frail body. Veg and Cal love Aquilon and Aquilon loves both men. Romantic tension ensues. Anthony pulled a similar love triangle in Sos the Rope, but for what it's worth this one is not quite as painful.
Nacre itself is the star of the show, and it would not surprise me if Anthony were to return to this setting in the future. It’s a fungus-rich planet in which the land is covered in an unfathomable amount of “dust”—spores from airborne fungi. There’s so much airborne fungi, in fact, that the sun has been more or less blocked out, and the animal life has adapted not only to low-light conditions but to move about with only one (big) eye and one limb. Clement would have surely treated this material with more scientific enthusiasm, but Clement sadly is no longer producing his best work and this novel is a serviceable substitute for the not-too-discerning.
Omnivore is Anthony’s best novel to date; unfortunately it’s still not good. There are two crippling problems here. The first is that Anthony simply cannot help himself when it comes to writing women unsympathetically, and the first section of the novel (there are four, each focusing on a different character) is the worst. Veg, while heroic, is unfortunately a woman-hater. I don’t necessarily have an issue with characters having unsavory flaws, but the problem is that this dim view of women bleeds into the rest of the novel to some degree. It should come as no surprise that Aquilon, the sole female character, is also the only one driven purely by emotions as opposed to intellect. Subble himself may as well be a robot, but Anthony writes him as a human so that he can a) take drugs, and b) seduce Aquilon.
The second is that it’s clear that this novel is About Things, but I can’t figure out what those Things could be. There is obvious symbolism at work. The trio of explorers play off of elements (herbivore/carnivore/omnivore, brains/brawn/beauty, and so on), but I’m not sure what statement is being made here. This is especially glaring in a year where we got many SF novels that are About Things; indeed 1968 might’ve been the year of SF novels that try to say Something Very Important. Omnivore might’ve been fine in the hands of a Clement or Anderson, but rather than be true to itself (an Analog-style adventure yarn), it has delusions of importance. It doesn’t help that Anthony gives us a puzzle narrative, but then takes seemingly forever to tell us what the puzzle actually is. The solution, thus, is unsatisfying.
At the rate he’s progressing, Anthony may be able to pen a decent novel in another few years. Two out of five stars, maybe three if it had caught me in a very forgiving mood.
Swordmen of Vistar, by Charles Nuetzel
Cover by Albert Nuetzell
Now we have the latest in what's proving to be an avalanche of heroic fantasy releases, and this one is simply painful to read. We know something is amiss just from looking at the title; to my recollection Nuetzel never used "swordman" or "swordmen" in the novel itself, which leads me to wonder what he could've been thinking. The writing between the covers is no less clumsy.
Thoris is a galley slave, in an ancient world not far off from the mythical Greece of Perseus and Pegasus, when he and the princess Illa find themselves possibly the only survivors of a shipwreck. Thoris falls in love with Illa before the two have even had a full conversation together. They first arrive at an island of cannibals before escaping, only to fall into the clutches of the tyrannical Lord Waja and his sword(s)men of Vistar. Also imprisoned is the wizard Xalla, who is father to a woman named Opil whom Thoris had saved earlier. With no other options, Thoris makes a deal with Xalla to vanquish Waja and then free the wizard—on the ultimate condition that Thoris also take Opil as his bride.
The back cover compares Thoris to Conan the Cimmerian and John Carter of Mars, and indeed Swordmen of Vistar is supposed to be a rip-roaring adventure with a damsel in distress, a morally ambiguous wizard, and a giant snake. One problem: the prose is some of the most ungainly I've ever laid eyes on. Edgar Rice Burroughs and Robert E. Howard were not tender in their use of the English language, but they had a real knack for plotting which Nuetzel lacks. This is a 220-page novel and surprisingly little happens in it. I hope you still like love triangles, because this novel also has one. Lord Waja and his top henchmen are defeated by the end of the eleventh chapter, but we still have two more to go with Opil as the final obstacle. We need to pad out this already-short book, obviously.
With how much I've been reading about love triangles, I think God may be telling me to try acquiring a second girlfriend. If I were Thoris I would be stuck with a tough choice. Do I pick the tough-minded woman who clearly appreciates my swordsmanship, or the haughty princess who's been degrading me for much of the novel? Sure, the former threatens to kill me if I refuse her, but nobody's perfect.
By the way, Nuetzel may be excusing the awkward prose by stating in the preface that the Thoris narrative is a translation of an ancient manuscript that some academic had written up and given to him. Unfortunately academics, by and large, are terrible writers with no ear for English, and this shows in the "translation." It doesn't help that yes, this is derivative of the John Carter novels, along with a few other things; and while Robert E. Howard's Conan stories are often About Something, Nuetzel doesn't really have anything to say. If you've read hackwork in this genre then the good news is that you've already read Swordmen of Vistar, and so can save yourself the trouble of buying a copy.
Basically worthless, although the illustrations (courtesy of Albert Nuetzell) are at least decent. One out of five stars.
Bill Jarrett is a galactic adventurer, a man who spans the stars to find excitement, glory and money. He’s a flirt and a fighter and the kind of guy who can work himself out of situations. But when Jarrett gets abducted, has a mind-controlling creature strapped to his head, and is sent to overthrow a man who he’s told is a dictator, Jarrett finds himself in a situation he might not be able to win.
Well, yeah, of course, Jarrett does end up winning in the situation he finds himself in, with the help of his friends and a few mechanical contrivances. Because of course he does. As a galactic adventurer, that’s what you might expect from him.
The Star Venturers is an entertaining Ace novel, a quickie star-spanner with a handful of ideas which might stick to your brain. Author Kenneth Bulmer occasionally throws in a small element of satire or self-awareness which enlivens the plot; there’s a bit of a feeling of the author kind of winking at us as he tells this story. But there’s not nearly enough of that stuff to make this book stand out.
Bulmer does play a bit with an interesting concept, the sort of self-learning machine, a kind of artificially intelligent creature called a frug (which Jarrett nicknames Ferdie the Frug) which is placed on a person’s forehead like a headband and which compels the person to follow orders lest they feel horrific agony.
Mr. Bulmer with his wife Pamela
Bulmer takes pains to imply that the device is both mechanical and semi-sentient, a kind of uncaring vicious machine which Jarrett sometimes reasons with and almost treats like a pet – if the pet was a giant tumor which could only cause pain, that is. This idea of artificial intelligence dates back at least to the first robot stories, but the author gives the idea a fresh coat of paint here, and that concept is a real highlight for me.
Other than that, this is a pretty basic space fantasy Ace novel, which is entertaining for its two hour reading time but which will have you quickly flipping over to read the novel by Dean Koontz on the other side. At least it’s not About Things or Very Important. Instead The Star Venturers is just forgettable.
On the other hand, the flip side of this Ace Double is pretty memorable. Dean R. Koontz, an author new to me, has delivered a fascinating satire of a world which is easy to imagine and just as easy to dread.
In the near future, post apocalyptic America, television rules our world. All the people in America live for a special show which all can experience viscerally. That TV show, called The Show, has seven hundred million subscribers. Those subscribers watch a continuing story, kind of a soap opera, about the characters on the screen. But they don't just watch the characters, they also feel the same emotions as the characters. They feel empathy and pain for the characters. In a real way the characters and viewers are bonded.
Because the actors are so well known, so much a part of their audience's lives, even the act of replacing an actor can be tremendously fraught with stress and worry. The act of leaving The Show can be freeing but also terrifying. And when lead actor Mike Jorgova leaves The Show, it makes his life much more complicated. He becomes untethered, is trained to become part of a revolution, and discovers the deeper frightening truths behind a world he scarcely understood.
Young author Dean Koontz delivers a clever and exciting story which shows tremendous potential. He does an excellent job of creating his world in relatively few words, delivering character in just a few broad strokes and creating memorable villains and settings. The end action set-piece, for instance, is built with real suspense and ends with a thrilling struggle which is filled with energy.
Dean Koontz
Along with that aspect, young Mr. Koontz delivers two more elements which separate this book from many of its peers.
First, he paints a fascinating future which seems like a smart extension of McLuhan's concept that "the medium is the message." Koontz creates a TV show which feels like reality, in which the characters live in some semblance of real life while engaging in exaggerated, bizarre actions. That's a concept which feels all the more possible these days, with controversies about the Smothers Brothers and Vietnam dominating headlines about television in 1969.
Koontz also delivers a series of philosophical asides which discuss human evolution from village to society and the ways mass media both shrinks the world and expands our horizons. Nowadays we know everything about people who live across the world but nothing about the people who live next door to us, and that gap only promises to get wider. As our social networks grow, the strengths of our connections only shrink.
This is heady stuff for an Ace Double – and I've only touched on a few of the many ideas shared almost to overflowing here. In fact, the book is chockablock full of ideas but the ambition is a bit high for their achievement. Like many a new author, Koontz has many, many ideas he wants to explore but there are a few too many on display. Nevertheless, despite its thematic density, The Fall of the Dream Machine reads like a rocketship, hurtling ahead until it lands gracefully, sharing a thrilling journey for the readers.
Keep your eye on Mr. Koontz. I predict great things from him.
Poetry has always had a strange place in science fiction. Long before appearing in Hugo Gernsbeck’s magazines, poets have been attempting to explore fantastic themes. However, in spite of their regular presence in almost every SFF periodical, and many fanzines, they rarely seemed to be talked about, nor are they represented in either the Nebulas or the Hugos (although we here give out Galactic Stars to them).
Enter John Fairfax and Panther publishing, who have put together this anthology of responses to the space age. The selection inside is varied. Some are original and some are reprints. Some are SFnal, some are fantastical, others closer to reality. And, as the editor puts it:
Some poets are optimistic about the space odyssey, others view it with cynicism…and other poets do not care if man steps into space or the nearest bar so long as human relations begin with fornication and end with death.
As this book contains almost 50 separate pieces, I cannot hope to cover them all here; rather I want to give an overview and highlight some of the best.
Possibly due to my natural cynicism, Leslie Norris’ poems were among my favorites. He is willing to engage deeply with the future, but believes the same problems we have down here will continue there. For example, in Space Miner we hear of the fate of those travelling to distant worlds for such a job:
He had worked deep seams where encrusted ore,
Too hard for his diamond drill, had ripped
Strips from his flesh. Dust from a thousand metals
Stilted his lungs and softened the strength of his
Muscles. He had worked the treasuries of many
Near stars, but now he stood on the moving
pavement reserved for cripples who had served well.
Just a small part of one of his moving poems that raise interesting questions about where we are headed.
Closely related is John Moat’s Overture I. His works concentrate less on the science fiction but still wonder if we are heading in the right direction:
That twelve years’ Jane pacing outside the bar,
Offering anything for her weekly share
Of tea; those rats now grown immune to death –
I ask you, in whose name and by what power
Have you set out to colonize the stars?
This is only an extract and continues in that fashion. It ponders if what we are bringing to other planets is something they would care for.
Not all are so negative. Some, instead, write about the wonder and artistic possibilities of space travel. Robert Conquest (who SF fans may know from his anthologies or short fiction in Analog) produces a Stapledon-esque epic among the stars in Far Out:
While each colour and flow
Psychedelicists know
As Ion effects
Quotidian sights
Of those counterflared nights.
Yet Conquest still asks within, what is the value of these views to the artist? A complex piece for sure.
There are probably only two other names you have a reasonable chance of recognizing inside: D. M. Thomas and Peter Redgrove, both for their occasional appearances in the British Mags. As you might expect these are among the most explicitly science fictional. For example, in Limbo Thomas gives us a kind of verse version of The Cold Equations, whilst Redgrove’s pieces are trains of thoughts of two common character types of SFF.
However, it should not be thought others have written repetitively on the theme. These poems include such diverse topics as the difficulties of copulation in space, how to serve tea on a space liner, the first computer to be made an Anglican bishop, and explorers getting absorbed into a gestalt entity.
The biggest disappointment for me are the poems from the editor. It is to be expected Fairfax would have a number of pieces inside but, unfortunately, they are among the most pedestrian. For example, his Space Walk:
Around, around in freefall thought
The clinging cosmo-astronaut,
Awkward and expensive star
Dogpaddles from his spinning car.
The poem has nothing inherently wrong with it, but it does not feel insightful, nor does it do anything experimental. It more feels like what would win a middle-school poetry competition on the Space Race. Probably deserving of a low three stars but little more.
I feel, at least in passing, I need to point out we have the recurring problem of the British scene. In spite of the number of poems contained within, none of the poets appears to be woman. There are no shortage of women poets, either in the mainstream or within the fanzines, so I find it hard to believe there were no good pieces available. Hopefully, this can be remedied in a future volume. The Second Frontier, perhaps?
Either way, this is still a fabulous collection. Of course, it will not be for everyone. Poetry is probably the most subjective form of literature, and not everyone likes to sit down to read more than forty poems in a row. However, the selection here is a cut above what we tend to see from our regular science fiction writers (looking at you, de Camp and Carter) and I hope it helps raise the form to higher standards and recognition.
Four Stars for the whole anthology with a liberal sprinkling of fives for the poems I have called out.
Four new novels suggest the seasons, at least for those of us living in the temperate regions of the northern hemisphere. Let's start with the traditional beginning of the year, as opposed to our modern January.
Cover art by Margery Gill, who also supplies several interior illustrations.
The first thing you see when you open the book is musical notation. The melody is said to be a very old French tune, and it plays a major part in the plot.
Those of you who can read music may be able to whistle along with the boy.
Christina, known as Kirsty, is a schoolgirl whose mother died a while ago. Her father remarried, this time to a much younger woman. Like many stepchildren, Kirsty resents her.
An opportunity to escape the awkward situation for a while comes when Kirsty gets a job picking fruit in Norfolk. She moves away from her home in Suffolk and lives with a kindly elderly couple.
Strange things start to happen when she hears music coming from an empty room next to her attic bedroom. She meets a local boy who experienced amnesia and sleepwalking when he stayed in the house. More alarmingly, he almost drowned when he walked toward the sea in a trance.
In addition to this mystery, which involves the supernatural, there are multiple subplots. Kirsty has to learn to get along with her young stepmother. A schoolfriend has no father, an alcoholic mother, smokes, admits to having tried marijuana, and is later arrested for shoplifting. One of her two young brothers suffers an accident.
Despite all this going on, and a dramatic climax, the novel is rather leisurely. The author captures the voice of her young narrator convincingly, and never writes down to her readers. There's a love story involved, and the book might be thought of as a Gothic Romance for teenage girls. In addition to this target audience, adults and even boys are likely to get some pleasure from it.
Two young men are hiking when they get lost in a storm. They wind up in a tiny village with only a handful of people living there. It seems that a dam under construction is going to flood the place, so most folks have moved out.
They spend the night in the home of an elderly couple whose son was killed in World War Two. (That may not seem relevant, but it plays a part in the plot.) The other inhabitants of the doomed village are an ex-military man, his adult son and daughter, a somewhat shady fellow, and the former showgirl who lives with him.
Things get weird when this quiet English village develops a tropical climate overnight. Bizarre plants, some like hot air balloons and some like birds, show up. The surrounding countryside changes into a land of earthquakes and volcanoes. What the heck happened?
We soon find out that people from a time thousands of years from now use time travel to transport folks hundreds of thousands of years into the future. Why? Because the future people face an all-encompassing disaster, and want to start human life all over again in the extreme far future.
(They only select folks in the past who were going to be wiped out of history anyway. The village was just about to be buried under a huge landslide, leaving no evidence behind.)
The rest of the book shows our reluctant time travelers exploring, figuring out a way to survive, and fighting among themselves. The two young women pair up with a couple of the men, but not in the way you might expect.
Near the end, the plot turns into a murder mystery, which seems a little odd. The conclusion is something of a deus ex machina. Otherwise, it's an OK read. The characters are interesting.
Fall is a time of nostalgia and anticipation. We gaze at the past, and ponder the future. Our next book features a lead character who has a lot to look back on, and plenty to concern him coming up.
The book takes its title from a famous painting by 19th century Swiss artist Arnold Böcklin.
The artist created several versions of the work. This is one of them.
Francis Sandow, our narrator, started off as a man of our own time. (There are hints that he fought in Vietnam, or at least somewhere in Southeast Asia.) He went on to travel on starships in a state of suspended animation, so he is still alive many centuries from now. In fact, he's one of the wealthiest people in the galaxy.
(Some of this is deduction on my part. The narrator only offers bits and pieces of his life throughout the text. The same might be said about the book's complex background. The author makes the reader work.)
Francis made his fortune by creating planets as an art form. If that isn't god-like enough for you, he's also an avatar of an alien deity, one of many in their pantheon. It's unclear if this is a manifestation of psychic power or a genuine case of possession. The mixing of religion and science in an ambiguous fashion is reminiscent of the Zelazny's previous novel Lord of Light.
Somebody sends Francis new photographs of friends, enemies, lovers, and a wife, all of whom have been dead for a very long time. He also gets a message from an ex-lover (still alive) stating that she is in serious trouble.
This sets him off on an odyssey to multiple planets, as he tracks down an unknown enemy. Along the way, he participates in the death ritual of his alien mentor. The climax takes place on the Isle of the Dead, a place he created on one of his planets as a deliberate imitation of Böcklin's painting.
The bare bones of the plot fail to convey the exotic mood of the book, or Zelazny's style. His writing is informal at times; in other places, he uses extremely long, flowing sentences you can get lost in.
As I've suggested, this novel requires careful reading. Stuff gets mentioned that you won't understand until later, so be patient. I found it intriguing throughout. If the ending seems a little rushed, that's a minor flaw.
About fifty years before the novel begins, aliens arrived on Earth with what seemed to be benevolent intent. Well, you know what they say about Greeks bearing gifts.
The Kaltichs brought longevity treatments and advanced medical techniques that could replace any damaged organ. The catch is that Earthlings have to pay a high price for these things.
There's also the problem of overpopulation. The Kaltichs promised to give humans the secret of instantaneous transportation to a large number of habitable planets. It's been half a century, and we're still waiting.
Because the longevity treatments have to be renewed every ten years, and the Kaltichs deny them to anybody they don't like, Earthlings are subservient to them. We have to call them sire, and punishment with a special whip that inflicts extreme pain follows any transgression.
Our protagonist, Martin Preston, is a secret agent for S.T.A.R., the Secret Terran Armed Resistance. (I guess we're still not over the spy craze, with its love of acronyms.) The agency asks him to imitate a Kaltich and infiltrate one of their centers, which are off limits to humans.
(I should mention here that the Kaltichs are physically identical to Earthlings. That seems unlikely, but it's a plot point and we get an explanation later.)
Because the previous fellow who tried this had his hands cut off and sent back to S.T.A.R., Martin understandably refuses. An incident occurs that changes his mind. With the help of a brilliant female surgeon (who, like most of the women in a James Bond adventure, is gorgeous and sexually available), he sets out on his dangerous mission.
What follows is imprisonment, torture, escape, killings, double crosses, and the discovery of the big secret of the Kaltichs, which you may anticipate. The book is similar to a Keith Laumer slam bang thriller, if a little more gruesome. Hardly profound, but it sure won't bore you.
Three stars.
There you have it, folks. Take ten and enjoy all the new novels coming out. We'll be back next month to help you figure out which ones to put at the top of the pile.
Jacques Tati’s newest movie, first released in 1967 but only recently screened at the Institut Français in London, is a tremendous achievement, dealing with many of the same themes as his earlier movies but in a much subtler and cleverer way. Although the box office has apparently been disappointing, the film is gradually accumulating the critical acclaim it deserves as it makes its way around the world.
The main theme is similar to that of Tati’s earlier comedy Mon Oncle (My Uncle, 1958): the idea that technologically-focused modernity is a superficial, soul-destroying philosophy which is ultimately doomed to failure. Playtime, though, takes a more subtle and arguably less conservative approach.
Playtime movie poster
We find ourselves in a fantasy Paris which is nothing but glass, chrome and concrete office blocks: the famous landmarks of the city, such as the Eiffel Tower and the Arc de Triomphe, are only glimpsed in the reflections of windows. The theme is made clearer when we see a tourist bureau with posters advertising London, Stockholm, and Mexico, each with the same office building and a few superficial details (for instance Routemaster buses and Big Ben) to mark the supposed differences. We are in a futuristic fantasy world where every place is the same and the subtle, playful, unpredictable details have been erased. It isn’t an unhappy scenario: the streets are clean and no one is poor or sick. But the pleasure people take in it is superficial and vapid (a tourist exclaiming at a trade fair that “they even have American stuff!”), and they also don’t seem to know what they are missing.
The Eiffel Tower reflected in a window
The film opens in a building where the viewer is left for a long time with no idea as to its purpose: we see black and chrome sofas, glass frontage, small cubicles. An older couple converse in accented English; nuns pass by, as does a priest, and a nurse with a crying baby. Is it a hospital? A government office? Finally we see a man with suitcases and the nature of the building is revealed: it is an airport. Tati’s cinema persona Monsieur Hulot is changed, having shed his pipe and scarf and adopted a grey coat in place of his trademark brown macintosh, but a variety of other people wander around the story in M Hulot’s costume and are mistaken for him. We see office buildings full of filing cabinets which are revealed, when seen from overhead, to be cubicles; we see little dramas play out in an apartment building where all the walls are glass and face onto the street. At one point two groups of people in adjacent rooms watch the same television programme, completely unaware of this shared experience and unable to come together and commune over their enjoyment.
Apartment living: isolating and atomising?
Unlike the way in which Mon Oncle harked back to a nostalgic imagined past, however, Playtime sees the doom of this conformist, modernist approach as lying in the future. The glass-fronted modernity is fragile and superficial, and falls apart at the slightest pressure, and so can’t cope with the everyday fallibilities of humanity, whether M Hulot, who lopes and skips around an office building and a trade fair subtly creating chaos, or his female counterpart in the story, American tourist Barbara (played by Barbara Dennek), who is constantly getting separated from her tour, or even background characters like a group of glaziers whose window-fitting activities subtly become a dance routine, enjoyed by a crowd of Parisians watching them from the street.
M Hulot observing office work
The film’s message is encapsulated in a long, climactic sequence in a fancy restaurant whose superficial efficiency and organisation is a façade. We see a beautiful oasis of elegant food and décor, but when the backstage areas are revealed, we discover that the restaurant is still being built, that the waiters are swapping jackets to hide stains and damage, that the kitchen is chaos. The introduction of M Hulot breaks the boundary between front and backstage and sends the whole thing into a joyous spiral of anarchy: the glass door shatters, the ceiling decoration falls down, the decorous bossa-nova music turns into wild jazz. The lighting fixtures break. Random people wander in off the street. Chairs fall over. Waiters trip. A plastic sculpture of an airplane melts. A wealthy American businessman declares one section of the room his private bistro and invites tourists and workmen to eat and drink at his expense. A drunk is ejected and walks straight back in. The austere and ordered modernity is undermined from all sides.
The car carousel makes Paris playful again
Afterwards, the patrons walk out into a transformed city, one which still includes the office blocks and grey concrete, but where the cars are now colourful, the buildings hung with bunting, and cheerful shops selling cheeses and scarves have replaced the trade fair. M Hulot buys Barbara a gift but, being unable to give it to her, delegates one of the Hulot impersonators to do it. Tati’s direction wittily turns a roundabout into a carousel, a car mechanic’s shop into a fairground ride. The message is not to destroy technological modernity, but to subvert it, and to find ways of making it joyful and playful. Five stars. Go and see it—if you don’t speak French don’t worry, most of the dialogue is in English and the physical comedy carries the action.
The Green Slime movie poster
From the sublime to the ridiculous! The other film I saw this week is the recently-released SF-horror The Green Slime, a Japanese production filmed in English with American and European actors. The plot involves a spaceman, Jack Rankin, sent up to a space station commanded by the man who has stolen his girlfriend, to lead a mission to destroy an asteroid which threatens Earth. In doing so, however, he and his crew accidentally bring back some of the titular slime which, when exposed to radiation, develops into alien monsters which must be fought while the two men and their love object reconcile their romantic interests.
I give this film more points than most reviewers because of the, possibly unintentional but definitely hilarious, Freudian message: a man’s jealousy over his ex-girlfriend’s new relationship causes him to unleash, through the medium of green slime, one-eyed tubular monsters onto the universe, and it’s up to him to bring them under control again. The modelwork is good and the characterisation unsubtle, giving the series the feel of what might happen if Gerry and Sylvia Anderson decided to work with live actors rather than puppets (as I’m told is soon to be the case), but without the budget of a Century 21 production. Definitely one to watch only when inebriated and in the right company, but very fun under those circumstances; I'm not sure if I was supposed to laugh all the way through it, but I did. One and a half stars.
Happy New Year to everyone! 1969 is upon us and the first new episode of Star Trek for this year is come! “Whom Gods Destroy” is the episode of the new year and although it was a smaller story, it was well crafted and concise.
It started off with the Enterprise arriving at a poisonous planet named Elba 2: a planet for the criminally insane. Kirk and Spock beamed down with an unnamed medicine that cured all incurable mental illness. As the curable ones have all already been cured throughout the galaxy, the asylum only had about a dozen patients in it.
Upon arrival they meet Governor Donald Corey, a very jovial man, who informs them that the asylum recently welcomed its 15th patient, Garth of Izar, a former captain that Kirk revered.
On the way to visit Garth, Marta, a green skinned Orion woman, says that Corey is not who he says he is. Corey laughs it off and takes them to Garth's cell, only to find that Corey, the real Donald Corey, is in the cell.
"Also, I'm Batgirl—why won't anybody believe me?"
Garth had tricked them, changing from Corey into his true form before their eyes, and freeing the inmates in the surrounding cells, bringing them to his side. Kirk and Spock are trapped on the planet. As Spock is dragged away unconscious, Kirk is put into the cell with the real Corey.
Lord Garth, leader of the future masters of the universe, as he now demands to be called, transforms into Kirk as a part of his plan to take the Enterprise and pursue vengeance against his former crew that mutinied against him.
As Garth contacts the Enterprise in the guise of Kirk, he is foiled in his attempt to gain access to the ship by Commander Scott. “Queen to queen’s level 3”, says Scotty. It's a passcode that the real Kirk set up as an increased security measure. Garth blows a gasket after this occurrs.
Garth then decides that he should change tactics. He goes back to Kirk, bringing Spock back and inviting them for dinner.
All the free asylum inmates, now Garth’s crew and subjects, are present and entertaining each other. We are even treated to a dance by the lovely, jade-colored Marta.
"Dessert, Captain?"
At this point I considered this episode, written by Lee Erwin, to be fully set up.
What came next was an expertly written tale of misdirection and subterfuge, by all parties. Kirk as the hostage trying to use his intelligence and wits to find a way out. Scotty, as a commander seeking to find a way to rescue his captain without causing him harm. Garth, as a brilliant, but insane, changeling able to match wits and brawn with Kirk to achieve his aim of universal domination.
Several times throughout the episode I had my assumptions challenged and my expectations subverted.
Again, I give credit to Mr. Erwin for crafting a tale with fleshed-out characters and subtle nods to history. Garth, wearing his coat with this left arm in the sleeve and the other draped over his shoulder, hinted at him being a futuristic Napoleon Bonaparte. Marta was a complex character who was as insane as the other inmates, yet lived within some rational rules and boundaries, never lying to anyone about anything.
Kirk, and the rest of the crew made no mistakes in the episode that a less skilled writer might employ to increase tension.
In the end this small, self-contained story did many interesting things, but didn’t try to do too much. There were many paths that this story could have meandered down, but Mr. Erwin skillfully kept the main thing the main thing. A great start for 1969 Star Trek in my opinion.
Five stars
by Janice L. Newman
The Little Captain
I was very much impressed by “Lord Garth’s” performance. He took a role which would have been terribly easy to overplay and made it his own. Thanks to movies, TV, and comic books, we’re all familiar with the idea of the inmate of an asylum who ‘thinks he’s Napoleon’. Often such roles are treated as one-note portrayals: usually for laughs, occasionally to be creepy or frightening, sometimes to be pathetic. Brilliantly, Steve Ihnat manages to infuse his performance as Garth with all of these, smoothly transitioning from menacing and cruel, to throwing a tantrum like a small child, to being unintentionally funny even as one tries not to laugh.
One of the most interesting and subtle aspects was Garth’s furred, gold-lined coat. Throughout the episode, except when he is disguised as someone else, he is never seen without it. He’s constantly fidgeting with the coat, swinging it around him like a cloak (with one sleeve hanging ridiculously off the back), slinging it over one shoulder like a toga, or even cuddling it like a child with a security blanket. The coat becomes a physical representation of his delusion, and it’s not until the very end of the episode, when he’s beginning to respond to the treatment of his mental illness, that we see him without it at last.
"Don't tell me how to wear my clothes…"
There were many other things I liked in the episode, but the one that stayed with me, and which I suspect will stay with me for some time to come, was “Lord Garth”.
Five stars.
by Gideon Marcus
Birth of a Dream
As is tradition, before we tuned into Trek Friday night, we all gathered 'round the dinner table for a fanzine read. Trekzines are a land office business these days, and my mailbox sees a good half dozen amateur publications in it each month devoted just to Trek (not counting the half dozen or so others that cover science fiction in general). This time around, it was the near-pro quality Triskelion issue #2.
The first piece in the fan-mag is by none other than Hal Clement, the famed hard science fiction author and professor, writing about the Enterprise and its basis in real science. Abstruse stuff, but interesting. It just goes to show how engaging the universe of Star Trek is, above and beyond the weekly drama and our favorite characters.
In addition to being a fine piece of writing and a showcase for some quite good acting, "Whom Gods Destroy" was compelling for how much it told us about the setting of the show. For though the episode takes place in the claustrophobic confines of Stage 10 on the Paramount lot, redressed to look like the prison colony of Elba, the dialogue fills in details about the show that seem to address the very beginning of the entire Federation.
When Kirk was put on trial in the episode "Court Martial", we learned that he had an award for "the Axanar peace mission". No other details were given at the time. In "Whom Gods Destroy", it turns out Axanar was the site of a terrific battle, one in which Fleet Captain Garth's participation was essential to victory. Kirk recounts that he was a "newly fledged cadet" when he went on the subsequent peace mission (in a role that could not have been too momentous given his inexperience). If Kirk is 35, which makes sense since last year he was 34, then he was a cadet probably 17 years ago, when he was 18.
And just last episode (well, last rerun), Spock related he'd been serving in Star Fleet for 17 years.
Hmm.
Add to that the fact that the Axanar accords resulted in Kirk and Spock being "brothers", and the significance of the event becomes pretty clear.
Kirk, Spock, Garth, red boa-cloak, and piggy-face: brothers, thanks to Axanar
In the first half of the first season of Trek, there were no references to the Federation. The Enterprise was an "Earth ship" reporting to the "United Earth Space Probe Agency". Only gradually did the words "Star Fleet" and "Federation" get bandied around with frequency. That suggests that the United Federation of Planets is a fairly new nation.
I deduce that Axanar was some sort of titanic conflict between what would be the major races of the Federation: the humans, the Vulcans, the Andorians, the Tellarites, the Orionids, and all the rest. It might even have resulted in a defeat for the Vulcanians—the "conquering" to which McCoy refers in "Conscience of the King". But now, the UFP is like a United Nations with teeth, ensuring harmony among the myriad worlds that have banded together in the name of peace.
Garth, a soldier's soldier, and maddened by a grievous injury, could not stomach this clemency, so he tried to incite an insurrection on Antos IV. Happily, the Antosians were having none of it, lest the shaky foundations of the Federation be toppled even as they were laid.
After Axanar, Kirk became an explorer first, and a soldier second. Now that Garth is on the way to recovery, perhaps he can join Kirk on that noble expedition to the stars.
About face
by Lorelei Marcus
It is not often that our Captain Kirk submits readily to another person. He gives his respect to direct Starfleet superiors, but to an esteemed alien passenger or important civilian escort, he shows only the required amount of deference, and sometimes less. Even when he or his ship is threatened with mortal danger, he refuses to buckle to the whims of any supposedly all-powerful being, often to his own detriment.
Yet, in "Whom Gods Destroy", Kirk not only lacks hostility towards his captor, but in fact follows Garth's orders and tries to reach an understanding with him through exclusively nonviolent means. One could argue this was merely Kirk acting out of self-preservation, as Garth could have killed him with a phaser at any time. However, in a similar episode, "Plato's Stepchildren" Kirk relentlessly resisted the physical control of the Platonians, almost to his death. He is not one to give in easily, if at all.
Then why the change in temperament with Garth? I postulate two reasons. First, Garth is a former starship captain and Federation hero. Kirk grew up reading of his exploits and admires Garth as a man of greater rank and accomplishment. Even in his delusional state, Garth still invokes an awe that commands obedience, even from Kirk.
Second, Kirk understands that Garth is mentally ill and doesn't hold him accountable for his actions. When dealing with other enemies, Kirk is unyielding from his position of righteousness. Other foes act horrendously, with full intent and cognizance, justifying Kirk's equally stubborn resistance.
But Garth does not truly know what he's doing, at least not the Garth Kirk worships and admires, and he's better dealt with using a soft hand. Ironically, this ends up being the wrong choice. On multiple occasions, Kirk tries to reason with Garth and talk him down. However, his diplomacy never works—as it shouldn't, given Garth's insanity is incurable. If not for Spock's clever ruse and confidence with his phaser, they might never have escaped the prison.
Kirk gives diplomacy the old college try
Between the acting and the development of Federation history, "Whom Gods Destroy" makes for an excellent bottle-esque episode.
5 stars.
by Mx. Blue Cathey-Thiele
Second Verse, Same as the First
GARTH: You wrote that?
MARTA: Yesterday, as a matter of fact.
GARTH: It was written by an Earth man named Shakespeare a long time ago!
MARTA: Which does not alter the fact that I wrote it again yesterday! I think it's one of my best poems, don't you?
Kirk seems destined to watch his heroes fail. Professors and peers from the Academy, fellow officers, esteemed scientists. Time and time again, he expects better from his fellow humans, and is met instead by (mostly) men who think that the only issue with ultimate authority and unchecked ambition is the personal failings of previous tyrants.
“It has been said that history repeats itself. This is perhaps not quite correct; it merely rhymes.” -Theodor Reik
Even with all the horrors he has encountered, perhaps even in spite of them, he is quick to declare a paradise, to look for the best in others. The rank of Starship Captain must demand a degree of ego, surely, to be capable of commanding over 400 persons, making life-or-death decisions, and being the first to approach previously unknown species and planets. Setting the stage for humanity and the Federation is a doozy of a first impression! A sense of confidence is a must, then.
We have seen Kirk mishandle situations, fall prey to his own weaknesses. But he also relies on Spock and McCoy to check him. Is it enough? After peers and mentors keep making the same mistakes with catastrophic repercussions… is it telling of the system, of the people, or both? Just what sort of curriculum does the Academy promote, that so many graduates have gone on to lose perspective, take over planets, view tyrants from history as inspiration, reconstruct fascist regimes? To repeat the mistakes and tragedy of history, thinking that this time they can do things right.
Starfleet: molding megalomaniacs for more than 20 years!
Consider Dr. Daystrom's desperate need to achieve again, at the cost of lives in war games with his M5. Or Lt. McGivers, so enamored with how men “used to be” that even as a historian who knew of Khan, she was easily swayed. Remember Dr. Adams who used a neural neutralizer to gain complete control of Tantalus, or Gary Mitchell declaring himself a god upon gaining psychic powers? And of course we can't forget John Gill, a historian and teacher so sure of his ability to do it the 'right way' that he recreated the Nazi regime. Kirk and his colleagues have stumbled to different degrees over the Great Man theory, the notion that history hinges on exceptional individuals.
More importantly, on dismissing those who aren't Great Men. Only the fact that his crew mutinied saved the planet of Antos 4 when Captain Garth was unable to handle the rejection. And yet, without his crew, he could do nothing. (Mutiny! As recently as in The Tholian Web, there is no recorded instance of such on a starship.) The story was written before, it will be written again. Abuse finds home in authority. Once one thinks of people as something less than human (or in Trek, alien), it is possible to justify any number of injustices.
Much of this episode was a re-wording of what has been said before, and usually said better. It wasn't terrible, but I'd like a key-change, at least.
3 stars
[Come join us tonight (January 10th) for the next thrilling episode of Star Trek! KGJ is broadcasting the show live with commercials and accompanied by trekzine readings at 8pm Eastern and Pacific. You won't want to miss it…]
I trust that singer Martin Gaye will forgive me for stealing the title of his current smash hit, which has been at the top of the American pop music charts since last month, and shows no signs of disappearing soon. (Gladys Knight and the Pips had a big hit with it not much more than a year ago, too.)
He's what's happening.
The reason for my musical theft is that certain information about the authors of the stories in the latest issue of Fantastic reached me through informal channels.
Open your ears, for which of you will stop
The vent of hearing when loud Rumor speaks?
— Henry IV, Part 2
I'll explain when the time comes. Meanwhile, let's take a look at a very mixed bag indeed.
Wow! A new piece of art on the cover. The grapevine tells me editor Barry N. Malzberg is shaking things up at Fantastic.
The editorial by Robert Silverberg, the magazine's new associate editor (so long, former-editor-turned-associate-editor Harry Harrison), makes the case that there's plenty of room in the world of imaginative fiction for both Old Wave and New Wave. Hear, hear.
This issue, which contains ten new stories as well as four reprints, should prove an excellent test case for his thesis. We've got old-fashioned yarns as well as experimental works.
First of all is a new tale from an author who bridges the gap between the opposing Waves. (Don't try to tell me his 1950 story Coming Attraction isn't a Dangerous Vision!)
Near the end of his life, Edgar Allan Poe encounters a mysterious, beautiful woman with whom he becomes obsessed. Their conversation suggests that Poe has a premonition of the coming American Civil War. The conclusion hints at the woman's true identity.
As you'd expect, this is elegantly written. Leiber obviously knows and loves the works of fellow fantasist Poe. The story is full of references to Poe's tales and poems. (Some might say too many.) The denouement is nicely subtle.
It's not a major piece (calling it Fritz Leiber's Greatest Short Story in the table of contents is hardly accurate) but well worth reading. High three stars or low four stars? I'm prejudiced in favor of both Poe and Leiber, so let's go on the high end.
Four stars.
Any Heads at Home?, by David R. Bunch
Hollywood used to call actor/director Erich von Stroheim The Man You Love To Hate, because of his many villainous screen roles. The controversial works of David R. Bunch, back when the magazine was edited by Cele Goldsmith (later Cele Lalli), made him The Writer You Love To Hate in the eyes of many conservative readers. He's back in form here.
The insane narrator (shades of Poe!) relates how he took the head of his dead, filthy rich boss out of his grave so he could kick it around. A visit from the police isn't the only thing he should worry about.
The bare bones (pun intended) of the plot make it sound like an ordinary horror story. What makes it unusual is the author's unique style. His familiar quirks are here. Certain words are printed in ALL CAPITALS, often with EXCLAMATION POINTS! Bunch uses hyphens to create new words like leather-cloppy and stone-feather. The whole thing seems to be written in a frenzy.
Whether you like this stuff or not is a matter of taste. I think it's fairly effective.
After that bit of New Wave, we go back to the Old. This story from one of the greats comes from the December 1950 issue of Amazing Stories.
Cover art by James B. Settles.
A newspaper man finds out his alarm clock and watch are both an hour fast. Just an odd coincidence? Maybe, but then there's the guy who calls the newspaper to report a sewing machine moving down the street by itself. Not to mention the rat-like machines hiding in the newspaper office, and the fact that the protagonist's typewriter prints out messages to him.
Illustration by Leo Summers.
The grapevine tells me this story has already been reprinted quite a few times, under the less melodramatic title Skirmish. The premise may remind you of the Twilight Zone episode A Thing About Machines. It's not bad, but it stops right at a dramatic moment, leaving things unresolved.
Three stars.
Back we go to new stuff; no less than half a dozen brief yarns before it's reprint time again. (Note that these six stories lack any illustrations. Maybe most of the art budget was blown on the cover.)
All in the Game, by Edward Y. Breese
An unscrupulous fellow finds himself in an extremely luxurious afterlife. His every desire is satisfied. There's a twist.
Sound familiar? Then you've seen another episode of Twilight Zone, namely A Nice Place to Visit. At least Simak has the excuse that he came first!
Two stars.
The Castle on the Crag, by P. G. Wyal
The previous story was new, but very traditionally narrated. This one is not. It starts like a satiric fairy tale (we're told that a princess is a White Liberal, and thus values poverty above all else) but then it jumps forward multiple centuries at a time, in several brief sections of text. A tree grows out of the dead body of the princess, an abbey is built on the ruins of her castle, etc. It builds up to a modern horror.
The point seems to be that nothing is permanent. This is a strange, dark story with a couple of remarks about religion that may raise some eyebrows. Not exactly pleasant reading, but interesting.
Three stars.
The Major Incitement to Riot, by K. M. O'Donnell
The grapevine tells me K. M. O'Donnell is actually editor Barry N. Malzberg. This surreal yarn consists of multiple conflicting versions of what caused violence to break out during the display of the gigantic death mask of a deceased official.
Weird stuff. Don't ask me what it means. The image of the huge mask is haunting, if nothing else.
Two stars.
The Life of the Stripe, by Piers Anthony
The army is running out of the stripes they use to designate rank. A sergeant is busted down to buck private so his can be reused. After his death, everybody who wears the stripe comes to a bad end. Is there a way to end the curse?
Not much to this beyond the premise. As military satire, it's not exactly Catch-22.
Two stars.
Slice of Universe, by James R. Sallis
As far as I can tell, this story involves a couple of aliens who speak in a complicated, song-like manner because they have multiple tongues. Their starship is operated, in some manner or other, by self-pitying, homesick birds. They explore the universe to its very end.
That's a very poor synopsis, because this piece is more of a dream-like prose poem than anything else. As such, I found it intriguing, if a little confusing. The aliens are really alien, that's for sure.
Three stars.
Reason for Honor, by Robert Hoskins
After World War Three, a couple of soldiers are the only ones left out of their unit. They see enemy troops approach. The encounter leads to an ironic conclusion.
Pretty grim stuff. Effective enough for what it is.
Three stars.
The Closed Door, by Kendall Foster Crossen
Back to reprints. This one comes from the August/September issue of Amazing Stories.
Cover art by Gaylord Walker.
The grapevine tells me that the author's first name, despite the way it is spelled in the original magazine and in this reprint, is actually supposed to be Kendell. Gotta watch those vowels.
Illustrations uncredited.
Anyway, what we have here is a futuristic locked room mystery. The detective even mentions Gideon Fell, a fictional solver of such mysteries created by author John Dickson Carr.
Whodunit?
A humanoid alien is murdered in his hotel room, despite the fact that the door can only be locked or unlocked by his hand. Does a torn piece of paper bearing the letters COO hold the key to the crime?
Boy, this is a lousy story. It fails as science fiction and as a mystery. The solution depends on things the reader can't possibly know. Give me Lije Baley and R. Daneel Olivaw any day in the week.
One star.
The Origin of Species, by Jody Scott Wood
We interrupt our reprints for a couple of new pieces. (Again, no illustrations.)
Less than a page long, this one takes the form of a tirade by a tree-dwelling ape against those radicals who are walking on the ground and doing other outrageous stuff.
A satire about the previous generation (Old Wave?) complaining about those darn kids nowadays (New Wave?), I suppose. Whatever.
Two stars.
Grounds for Divorce, by Robert S. Phillips
A man goes to a lawyer asking to divorce his wife. It seems the fellow isn't satisfied with his sex life, compared to the images he sees of the old days.
You'll probably see the twist coming a mile away. A mildly Dangerous Vision.
Two stars.
This Planet for Sale, by Ralph Sholto
The pages of the July 1952 issue of Fantastic Adventures supply this space opera.
Cover art by Walter Popp.
A couple of guys are in their spaceship, smuggling valuable cargo. Meanwhile, a father and daughter are in another spaceship. The two vessels run into an invisible planet that made its way into the solar system.
Illustration by Ernie Barth.
The daughter (in true science fiction fashion, this young adult woman is always called a girl) gets captured by the bad guy. The smuggler-turned-hero rescues her.
It all has something to do with the bad guy's plan to wipe out the indigenous population of the invisible planet and transport it somewhere else, in order to sell it to aliens. The bad guy also wants to do the same thing to Earth.
Pretty bad stuff. Nonsensical science, thud-and-blunder action. The nature of the smuggled cargo (kept concealed from the reader) solves everybody's problems (expect the bad guy, of course.)
One star.
The Day After Eternity, by Lawrence Chandler.
Another action/adventure yarn, this time from the February 1955 issue of the magazine.
Cover art by Henry Sharp.
The grapevine tells me that Lawrence Chandler was a house name (pseudonym shared by more than one writer.) Might be Howard Browne, might be Henry Slesar, might be somebody else. The grapevine doesn't know everything.
Illustration by Paul Lundy.
Another wandering planet comes into the solar system. This one seems to be stealing Earth's water. (Forget that. It has nothing to do with the plot.) Our manly hero and his manly buddies, plus a whole bunch of cannon fodder from other planets, set out to defeat the thing.
A telepathic psychiatrist comes along, because she's figured out that the planet is actually stealing minds. The cover illustration, for which the story was probably written, depicts a scene in which one of the buddies, who loves old cars, gets tricked by an illusion and blown up.
(At this point, I was reminded of Ray Bradbury's 1948 story Mars is Heaven!, which is much better.)
Everybody gets killed except the hero and the (ahem) girl. They bicker at first, but of course they wind up in love.
Two rotten old stories in a row. This one adds insult to injury by emphasizing the fact that the psychiatrist is old-fashioned because she doesn't expose her breasts.
One star.
Sour Grapes
There were some real stinkers in this issue, particularly the reprints from lesser known writers. Not all the new stuff was worthy either.
The grapevine tells me that Malzberg isn't happy with the magazine's reprint policy. Did he deliberately choose losers to make his point? The rumor mill also suggests that he won't be around long.
There were some decent stories here — it's hard to throw fourteen darts and not hit the target sometimes — but you might want to spend some time watching an old movie on TV instead.
![[January 26, 1969] A New World Order <i>New Worlds</i>, February 1969](https://galacticjourney.org/wp-content/uploads/2024/01/New-Worlds-Feb-1969-672x372.jpg)
Impressively startling cover by Gabi Nasemann.
As expected, the usual nudity, not entirely related to the prose. Artwork by Gabi Nasemann.
Artwork by Gabi Nasemann.
Table made up by J. G. comparing different writers. Notice the positioning of Pohl and Asimov and that of Burroughs (presumably William S., not Edgar Rice!), a sign of where this magazine seems to be going.
Artwork by Haberfield.
Artwork by John T. Sladek.
Work by Mervyn Peake.
Artwork by Prigann.
Artwork by Prigann.
Artwork by Gabi Nasemann and Charles Platt.
An advertisement from this issue of Peake's better-known work.
![[January 22, 1969] NASA’s Christmas Gift to the World Part 2 (Apollo 8 continued)](https://galacticjourney.org/wp-content/uploads/2024/01/Apollo-8-Earthrise-672x372.jpg)
"Oh my God!" is what Astronaut William Anders said just before he took this awe-inspiring photograph of the Earth rising over the Moon, as seen from lunar orbit. That was my exact response – and yours, too, I expect – on first seeing this incredible sight. I confidently predict that this amazing view will become one of the defining images of the Space Age
Fuel venting isn't visible in this image of the jettisoned S-IVB stage, but small debris from the separation can be seen floating around it. Although Apollo 8 carried no Lunar Module, this shot shows the LM test article contained in the S-IVB stage
Taken just around the time of TLI, this view from high orbit shows the Florida peninsula, with Cape Kennedy just discernible, and several Caribbean islands
The view of Earth after S-IVB stage separation. From the Americas to west Africa, and from daylight to night, for the first time humans could see their entire planet at a glance!
The first mission status report for Apollo 8, sent to the NASA tracking stations around the world, for release to local media. Dated some 19 hours after launch, it outlines some of the activities of the early part of the coast to the Moon
Astronaut Anders shows us his toothbrush (top) and Jim Lovell wishes his mother "Happy Birthday" (bottom) during Apollo 8's first deep space broadcast
The Apollo 8 second broadcast view of the Earth as we saw it on television (above) and how Capcom Collins saw it on his monitors in Mission Control (bottom). Would alien visitors to our solar system think anyone lived there?
A view of the Moon, finally visible as Apollo 8 approached and prepared to go into orbit
The Manned Space Flight Network station at Honeysuckle Creek, near Canberra, was tracking Apollo 8 as it went behind the Moon and received the first signals as it re-emerged, safely in lunar orbit
Jim Lovell's "sand pile" on the Moon!
View of the Moon's surface during the third Apollo 8 television broadcast
Awestruck, they scrambled so quicky to capture the vision that no-one is quite sure now who took which picture, although it seems that Col. Borman may have snapped the first black and white photograph, and Bill Anders a number of breathtaking colour images of the Earthrise.
Apollo 8's Earthrise images are usually published oriented with the lunar horizon at the bottom, as that is how we are used to seeing the Moon rising over the horizon on Earth. But the orientation of astronauts' orbit meant that they actually saw the Earth appearing to rise 'sideways', as seen in this original version of Major Anders' photograph
This spread from the 15 January issue of the Australian Women's Weekly is just one example of thousands of magazine and newspaper articles already featuring the Earthrise photograph and Apollo 8's other amazing pictures
A view of the Moon seen by the audience on Earth while the crew of Apollo 8 read from the Book of Genesis
Families around the world gathered on Christmas Eve/Christmas Day (depending on where you were!) to watch Apollo 8's broadcast
A view inside the Command Module, during the fifth Apollo 8 television broadcast
An image from the fifth broadcast taken directly from a monitor at the Honeysuckle Creek tracking station. It shows Bill Anders demostrating how to prepare a meal
Slayton also included three miniature bottles of brandy with the meal, although Borman decided that they should be saved until after splashdown!
Apollo 8's re-entry, captured by one of NASA's Apollo Range Instrumented Aircraft that operate as airborne tracking stations
Map of Apollo 8's splashdown area 
After their recovery, the Apollo 8 astronauts addressed the USS Yorktown's crew, very glad to be home!
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For the influence and impact of their mission, Time magazine has chosen the crew of Apollo 8 as its Men of the Year for 1968, while Life has selected the post-TLI image of the Earth for the cover its 1968 retrospective issue.
![[January 20, 1969] Waiter? There’s An Alien In My Soup! (<i>Doctor Who</i>: The Krotons)](https://galacticjourney.org/wp-content/uploads/2024/01/690120krotons-672x372.jpg)
![[January 18, 1969] (February 1969 <i>Fantasy and Science Fiction</i>)](https://galacticjourney.org/wp-content/uploads/2024/01/690118cover-663x372.jpg)
![[January 16, 1969] Mixed messages (<i>Star Trek</i>: "Let That Be Your Last Battlefield")](https://galacticjourney.org/wp-content/uploads/2024/01/690116title-672x372.jpg)
![[January 14, 1969] Ten for the road (January Galactoscope)](https://galacticjourney.org/wp-content/uploads/2024/01/690114covers-672x372.jpg)
![[January 12, 1969] Taking French Leave: Playtime (a movie) and The Green Slime (a flick)](https://galacticjourney.org/wp-content/uploads/2024/01/690112movies-672x328.jpg)
The car carousel makes Paris playful again
![[January 10, 1969] Mad for this show (<i>Star Trek</i>: "Whom Gods Destroy")](https://galacticjourney.org/wp-content/uploads/2024/01/690110title-672x372.jpg)
![[January 8, 1969] Young Punks and Old Fogies (February 1969 <i>Fantastic</i>)](https://galacticjourney.org/wp-content/uploads/2024/01/690108cover-672x372.jpg)
