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

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

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

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


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


Janice and me playing Patrol with toy soldiers

With the latest issue, Volume 3, Issue 2 (#18 total), there is a new editor at the helm: Jim Dunnigan.  Dunnigan's name may be familiar to you as the fellow who developed 1914 and Jutland for Avalon Hill… and also a self-published game on last year's takeover of Columbia University.  He has elected to apply his wargame-creation talents toward designing a brand new board wargame for S&T—Crete.


Cover of the latest issue of S&T


Table of contents of the latest issue of S&T

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

Lorelei provided the box cover art!

So how does it play?  Read on!

Vital Statistics

Crete is a two-player simulation of the German airborne invasion of the island of the same name in May 1941.  If you remember your history, the Nazis had pushed the Greeks and Commonwealth allies off the mainland the month before.  The subsequent assault on Crete represented the Goering's last parachutist assault on a target, and it was a very near thing.

Rather than portray the entire island, Crete instead has three separate mapboards, each representing the area around each of the airfields critical to German success in the invasion.  Until an airfield is captured, no reinforcements can arrive to aid the Luftwaffe airborne troops.


Three maps (one complete, two partial)

This game seats two players and takes about two hours to finish. The German player has to land 13 battalions of paratroopers to take on the 43 weaker British, Australian, New Zealander and Greek battalions. If the Germans dislodge the Allies from an airfield, they can unload a brigade of mountain troops each turn from the captured runways greatly enhancing the German forces. The German player also has seven invincible airplane units with infinite movement which add a bit of strength to attacks, improving the odds.

The goal of the game: points are scored for the destruction of each unit (one per strength point) and 5 points are awarded for the occupation of airfields, 10 for occupying the city of Suda Bay, at the end of the game. Whoever has more points wins—the bigger the margin, the bigger the victory.

The Rules

Those familiar with Avalon Hill games will recognize most of the concepts—and some of the stock language for beginners.  For instance, "unlike chess and checkers, you may move all of your units in a turn," and, "henceforth, all hexagons shall be called 'squares.'" The rules are very simple. Germans deploy, move and fight. British move and fight. Repeat for ten turns.


Drake (Trini's brother), playing the Germans, contemplating his first move

Each counter has a combat strength and movement rate. British unit strength values range from 1 to 6, 4s being the majority.  They are slow–average movement rate of 4.  The German mountain troops have a strength of 6, as do most of the paratroops, and 4 of the battalions have a whopping strength of 8!  The mountain troops move 6 and the paratroopers move 5, so the Germans have a mobility edge, as well.

Terrain effects are minimal: defense doubled in rough terrain or towns, roads triple movement. Travel between the boards is possible at specific road exit points at the map edges.

There are several novel aspects which make this game interesting.  The Germans employ a kind of hidden set-up, choosing on which board(s) to drop 7-13 paratroop battalions.  Leaving some paratroop units in reserve means the Allied forces never know where or when the next German troops will appear out of the sky.  This essentially freezes the defenders in place until all of the parachutists land.


Example of a secret setup allocation (and the victory point balance at the end of that game)

The airborne units may scatter upon landing, and they can't move or fight on the first turn unless they land on some hapless British unit.  Woe be to the Fallschirmjäger who drifts out into the sea and drowns… (this eventuality is not explicitly covered in the rules, which are not as rigorously laid out as Avalon Hill's, but it makes sense, and it's how we play).

There are two odds-based Combat Result Tables—one for "limited assault" and one for "all out attack", the attacker choosing which one is preferred (and it is an important choice).  There is no "defender/attacker retreats" option, as one finds in most other games.  Instead, a common combat result is "counter-attack"—the defender may retreat or choose to fight back…but you get to choose which stack you counter-attack.  In practice, that means a 3-1 on first attack can turn into a 1-1 or even 2-1 in the counter attack. Fights can seesaw back and forth for quite some time in an exciting fashion.

Gameplay

The game quickly becomes a pitched battle for one or more airfields. If the Germans can't secure one within a few turns, it's all over.  The Allied units are pathetic compared to the Germans, which they need to spend most of their time picking strategic defense points, only attacking on the rare occasion that they can pounce on an isolated German unit (which usually happens during the initial drop phase). The Germans need to be daring in their drop, landing amidst the Allied formations to cause a maximum of confusion.

Generally, only two of the boards will see action at any one time.  The Germans simply don't have the forces to hit all three at once.  Once the battle is won on two of the boards, it's a lost cause for the third, most likely.


Me, ebullient after a local victory

After Action Report

This game provided a surprisingly fun afternoon of play.  There are lots of decisions to make, and it can be a real nail-biter.  Not only does the game present an interesting puzzle, it is one of the shortest wargames out there.  The shortest Avalon Hill game, Afrika Korps, still takes a few hours to get through.  On the other hand, after a few games, the optimum Allied strategy presents itself, even with the Germans having several options for attack strategies.  Still, the game is good for several plays, is a great introduction to the hobby…and it's worth every penny you spend on it (i.e. virtually nothing).

Dunnigan has promised that each bimonthly issue of S&T will contain a brand new wargame (or two!) so this column promises to get a lot busier soon.  That's what I call a good problem to have!

(This report brought to you by the proud members of the Galactic Journey Wargaming Society!)




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Magazine/Anthology, Science Fiction/Fantasy, Serial, Uncategorized

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

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by David Levinson

An unexpected, expected coup

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

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

King Idris from a couple of years ago.

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

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

Libya’s new Prime Minister, Soliman Al Maghreby.

A deep but dazzling darkness

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

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

Happiness Is a Warm Spaceship, by James Tiptree, Jr.

Fresh out of command school, Lieutenant Quent expects a plum assignment. After all, he finished high in his class and his father is an admiral. Instead, he’s assigned to a mere patrol boat, one of the first with an integrated crew of humans and aliens. The lieutenant doesn’t—quite—share his father’s extreme prejudices, but he’s going to have to make a lot of adjustments.

Deathly ill, the captain has some advice for his first officer. Art uncredited

This was really good, right up until the last two or three pages. The ending felt a bit confused, and the story seems to be saying integration isn’t a good thing. It’s not really clear on the point, because the very end seems to contradict that. Nevertheless, Tiptree continues to improve. I may not necessarily like what I read, but it always seems to hold my interest.

A high three stars.

To Kill a World, by Irwin Ross

When his wife died, Colonel Ward crawled into a bottle. Now he’s desk-bound and in command of an air force base, while the arrival of his commanding general signals that his career is over. But the landing of an alien spaceship changes the trajectory of his life.

An alien invader, or is it? Art uncredited

Here’s our first dark story. Once the action gets going, it seems fairly obvious how things will turn out. But Ross takes his tale in a different, more poignant direction, and it is much the better for it.

Four stars.

Genemaster, by Barry Alan Weissman

Far, far in the future, Earth is forgotten, and humanity has been messing with its genes so long that nobody looks what we would call human. When proof is found that humans came from a single world, an aristocrat with a zoo hires the protagonist to provide him with an Original human.

If the previous story went somewhere unexpected, this one goes exactly where you think it will. It also gets to the punchline far too easily. The only thing this story has going for it is the narration, which is brisk and engaging. I’d call it Zelaznyesque if the first-person narrator were more sarcastic. That’s just enough to pull it over the three-star line for me; you might think otherwise.

Barely three stars.

For Sacred San Francisco, by Alfred Coppel

A century or so after World War III, men are a scarce resource that the women of the city-states of the shattered United States go to war for. Jere is a fighter pilot for San Francisco. She survives being shot down and encounters a wild man.

A San Franciscan gunner, not our protagonist. Art uncredited

Back to darkness, though I can’t say much about it without giving away the ending. The story stands on its own, but would probably work better as part of a novel. Many aspects of the world Coppel has created go unexamined, and the consequences of the conclusion could be far-reaching.

Three stars.

The Story of Our Earth: The Conquest of the Land, by Willy Ley

Having taken us through the formation of the Earth and the emergence of life, Ley shows us the Devonian period, when life first crawled onto land. Unfortunately, the fossil record for this period is scarce (most creatures were soft-bodied and didn’t fossilize well), so he spends most of the article talking about trilobites. I think a few lines may be missing at the end, because it is very abrupt, but what we have is interesting and engaging.

Three stars.

By Civilized Standards, by Neal Barrett, Jr.

Barrett offers us a first contact story in which humans and aliens struggle to find a point of commonality. Eventually, they think they found one, but how well do the humans really understand? And once again a very dark story that’s also well-written.

A high three stars.

The Seeds of Gonyl (Part 2 of 3), by Keith Laumer

In Part 1, Jeff Mallory woke to find that three months had passed, his town in the thrall of alien invaders, and his daughter Lori missing and forgotten. He escaped, joined up with Lori’s best friend Sally, and wound up drafted by Colonel Strang, who believes it is the Chinese who have conquered his town.

As the story picks up, he discovers Lori in Strang’s camp, but she is a true believer in the colonel’s vision. He and Sally attempt to kidnap her and things go wrong. Sally is shot and Jeff must flee on his own. Guided by memories that don’t seem to be his own, he comes to a large house, where he meets a very old man named Gonyl. The old man claims to be an alien and explains what’s going on. As the story ends, Jeff expresses disbelief and demands the truth. To be concluded.

Gonyl is not in good shape. Art uncredited

This is all fairly typical for Laumer in adventure mode. There are a lot of elements he’s used before: two aliens who have lived on Earth for centuries, an imminent threat they were originally sent to stop, a hero plagued by strange memories who may be connected to the aliens. Much of this feels like he’s just going through the motions, and a lot of the action has been episodic, not really advancing the plot (though he may wind up bringing it all together in the end). Right now, it’s average at best.

A low three stars.

Appropriate Punishment, by Theresa M. Treadway

This month’s new author tells the story of an old man facing judgment on the last night of his misspent life. It’s extremely well-written, but rather trite. Worse, the ending could be read as supporting a racist stereotype; that’s probably not intended, but it’s there.

Three stars.

Judgment night. Art uncredited but clearly signed by Gaughan

I’ve been wondering if Jakobsson would carry on with the IF first program. The issues under his leadership have all had a new author, but there was no acknowledgment of the fact. This time, there’s a note at the top of the first page of the story announcing “an IF first,” and the author bio makes its return (though somewhat insultingly never referring to Miss Treadway by name; I’ll put that down to poor editing for now).

Summing up

With this issue, IF begins to at least feel different from the Pohl years. Not significantly better or worse, but different in tone. It’s a gloomy issue, though looking at each story individually it’s not quite as dark as the overall impression I initially came away with. I don’t mind too much; the best story in the issue is also the darkest. But let’s not overdo it either.

Right now, my biggest complaint is that the art is all uncredited. It all appears to be by Jack Gaughan, who was on the masthead last month (there isn’t one this month) as Associate Art Director. Maybe that’s a fancy way of saying he’s doing all the interior art now. I hope not. I like Gaughan’s work, but I also like a bit of variety.

Looks like another of Dickson’s military stories. Those are often quite good.




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Magazine/Anthology, Science Fiction/Fantasy

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

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

Options in Space

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

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

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

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

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

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

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

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

Options in Print

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


by Kelly Freas

The Yngling (Part 1 of 2), by John Dalmas

It is the 29th Century, and the world is recovering from a disaster that killed off the overwhelming majority of its population.  Earth has reverted to the Dark Ages, at least in Europe.  In fact, the setting of the book strongly resembles the 9th Century, with food pressure impelling the Scandinavians to raid and settle the warmer climes to the south.  Meanwhile, an Oriental despot is plotting the takeover of Europe from his advance base in the Balkans.

The main difference between the future and our past is the existence of psi powers, specifically telepathy and precognition.  Though not widespread, it is common enough that possessors of these powers are recognized and valued.


by Kelly Freas

One such possessor is Nils Järnhand, a Svear from the frigid land of Svea.  Banished from his lands for an accidental manslaughter, he travels to many places, becoming perhaps Europe's greatest warrior.  He also develops his psi powers, using his telepathy to aid his interactions and his premonitory power to stay one step ahead of assailants.  His ultimate goal seems to be a date with destiny with the evil Kazi, the would-be dictator of all lands west of the Urals.

John Dalmas seems to be a new author, and his Nils is a character in the Conan mold—a superman who can be placed in a number of adventure scenarios.  His defining traits, asside from his martial puissance, is his adaptibility and his complete lack of an internal monologue.  He simply senses, processes, and acts, with no consideration or doubts.  This should make for a dull character, but somehow, Dalmas keeps things going, lively and interesting.  There are a couple of rough transitions where it seems thousands of words got pared for length considerations; perhaps they will be restored in the book version.

Anyway, I give it three stars for now, but it's possible the second part will raise my estimation.  I'm certainly enjoying it, at least.

A Relic of War, by Keith Laumer


by Vincent Difate

Three generations after the cataclysmic human/alien war, a battered sentient tank has become adopted by the citizens of a small town.  When a government man comes along intending to euthanize the old machine, the mayor is the first to defend their mascot.  But when Bobby the tank suddenly charges off, weapons armed, there is cause for all to reconsider their positions.

This is the Simakiest of Laumer's Bolo stories, pastoral and sensitive.  What I find so interesting about these tales is that so many take place long after the conflict for which the mammoth tanks were built.  Others would prefer to tell war stories, but not Laumer.

Four stories.

The Big Rock, by Robert Chilson


by Kelly Freas

A future-day Australia is set up on an airless world, importing criminals from six worlds whose citizens would rather offload the malcontents than pay the taxes for things like prisons and rehabilitation.  It's all part of a grand experiment: can a den of thieves become a self-sustaining population?

Chilson tells the story from the point of view of the intellectual (and much bullied) prisoner, Hargraves.  His tale is punctuated by scenes of a conversation in which one government official explains the experiment to another politician.

The setup is interesting—sort of a precursor to The Moon is a Harsh Mistress—and Chilson tells an interesting story…but the piece just ends.  Even the dialogue between the two bureaucrats doesn't tie things up.  We never find out how the experiment ends, or even if it can end successfully.

Three stars.

Proton to Proton, by R. Dean Wilson

Wilson proposes a mechanism for the abstruse but universal conversion of sunlight into the molecule ATP, which is fundamental to most biological processes.

I must confess, it's all beyond me, but then I've never taken a chemistry course in my life.

Three stars.

Test Ultimate, by Christopher Anvil


by Vincent Difate

Here is another tale of Anvil's "Space Patrol".  This time, a recruit is facing the final challenge before induction, one of courage.  He has to wade through a pool of giant piranha and then climb a 25-foot sheer facing.  Accompanying him on is a chipper guide, who exhorts him cheerfully to plunge on through, heedless of the danger.

Naturally, this is all simulated, so if said recruit gets eaten on the way, he'll only feel his death, not experience it.  Nevertheless, our hero smells something fishy (beyond what's in the pond), and responds accordingly.

It's cute, perhaps a trifle long.  Three stars.

Jump, by William Earls


by Vincent Difate

99 out of 100 Spacers have no trouble with Jump, that moment of transition between normal and hyper-space.  But Lacey is in that unlucky 1%, and despite a luminary career in the scout services, he finds he just can't take the experience anymore.  So he musters out at Titan base and tries to make a go of it as a civilian.  In the end, he determines space is in his blood, fear of the void between voids be damned.

There's not a lot to this tale, which could just as easily have been written about the Navy, with seasickness or fear of typhoons standing in for Jump aversion.  Plus, I was a bit turned off when the author had Titan be a Moon of Jupiter.  Titan orbits around Saturn!

Two stars.

Compassion, by J. R. Pierce

by Leo Summers

In the near future, New York becomes a protected enclave for Black Americans, not unlike the reservations for Native Americans (as Indians are beginning to be called).  The parallel is not specious—it is made in the story!

The heroine of the tale is Sari, a 20-year old tourguide from the Big Apple, whisked away by a handsome, middle-aged man as dark as she is, but representative of the mainstream world, progressing right along.  He introduces her to the modern era, gauges her considerable talents, and then sends her back to New York to be a leader of her society, someone who can bring promising souls into the wider world.

I'm not sure I like or buy the premise, but it is a nicely written piece, with enough consideration given both to the world (like something Mack Reynolds might spin) and to Sari's emotions and inner thoughts, to feel fleshed out.  Not much happens, but I enjoyed the story.

Three stars.

Doing the math

All in all, not a bad issue, really.  Unlike a lot of the rest of the slog this month, I never found myself dreading the next page of Analog.  Of course, a three-star average is hardly anything to brag about, but it does beat all the other collections of short SF this month, with the exception of Galaxy (3.2).

Lesser entries for October include:

You could take all the four and five star stuff and squeeze it into one overlarge magazine, and though women contributed 6.5% of the newly published material this month, you have to regard Orbit as a magazine, even though it's printed in paperback format.

We're definitely at a nadir for short SF these days.  Let's hope this is the bottom rather than a height compared to what's coming!




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Science / Space Race

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

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


by Kaye Dee

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

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

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

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

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

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

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

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

A simplified version of the Apollo lunar free return flight trajectories

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

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

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

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

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

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

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

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

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

Sexism, Celebrity and Activism

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

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

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

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

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

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

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

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

Whoever Heard of a “Software Engineer”? Margaret Hamilton

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

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

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


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

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

A Calculated Move

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

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

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

A page from the software for the Apollo Guidance Computer

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

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

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

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

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

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

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

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

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

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

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

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

Supportive Male Mentors

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

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

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

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

Professional Disrespect

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

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

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

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

On Console for Apollo-11

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

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

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

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

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

Making Packed Lunches for Astronauts: Rita Rapp

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

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

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

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

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

The first Gemini biological experiment, designed by Miss Rapp

From Aeromedicine to Space Food

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

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

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


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

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


Just the Beginning

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

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




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

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by Yo Aoyama

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

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

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

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

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

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

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


Kunio Tsukamoto, 1951

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


Water Burial Story, by Kunio Tsukamoto, 1951

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

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

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

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

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


Taeko Kuzuhara


Budoukidachi, by Taeko Kuzuhara, 1963

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

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

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

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


Dies in the Countryside, by Shuji Terayama, 1965

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


Shuji Terayama

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




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Movies

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

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by Victoria Silverwolf

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

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

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

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

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

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

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

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

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

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

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

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

Is there murder on the way?  You betcha.

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

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

Let's take a look at the latest example.

What Ever Happened To Aunt Alice?

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

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


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

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


The new widow.

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

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


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

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


Aunt Alice and the desert landscape.

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


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

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


A letter written to the victim we saw above.

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

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

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

Four stars.

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




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Magazine/Anthology, Science Fiction/Fantasy

[September 22, 1969] Unsmoothed curves (October 1969 Fantasy and Science Fiction)

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

Government by the Many

Every four years, Americans head to the polls to vote for who they want to lead the Free World.  At least, that's what they think they're doing.  What really happens is your vote determines if your choice for President wins your state.  And then, representatives of the states, the so-called "Electoral College", announce who they've been empowered to choose.  Technically, these representatives are not bound to uphold the will of the voter; in practice, bucking the election results has been for protest rather than consequence.

This means that the swingier the state and the bigger the state, the more attention it will get.  For instance, California, somewhat evenly divided between Democrats and Republicans, and currently the most populous state in the Union, is more important to a candidate than, say, a reliable and sparsely settled state like Arizona.

No more?  This week, the House passed a proposed amendment to the Constitution that would make Presidents directly electable.  This would mark the first major change to the system since 1803.

It looks like half the Senate is in favor, but it will take two thirds of that chamber plus three quarters of the states for the measure to go through.  Opposing such reform are representatives of small states and rural areas, as they wish to retain their outsized impact on the process.  With the rapid rate of urbanization, particularly on the coasts, this proposed amendment threatens to wipe out the electoral relevance of most of the central region of our country, from the Rockies to the Mississippi. 

But that's precisely why the time for such an amendment has come, its advocates propose.  People vote—not acres.

The bill faces an uphill battle, but it's an idea whose time has probably come.

Magazine by the Few


by Ronald Walotsky

Even with an Electoral College, with 50 states, you still get something approximating the will of the people.  With a science fiction magazine, you've only got six to fourteen pieces.  That means any individual story can dramatically affect your enjoyment of an issue, and the variations in quality can make for a wild ride.  Such was my experience reading the latest Magazine of Fantasy and Science Fiction.

Feminine Intuition, by Isaac Asimov

Susan Calvin, renowned roboscientist, has gone into semi-retirement, passing the torch to the new generation.  Said successors develop a robot with flexible programming, one that can make free associations rather than rely on its own hard-coding.  Its designers, all male, decide that such fuzzy thinking could only be ascribed to a female, and so they built the robot with feminine curves and a sexy contralto voice.  JN-5, or "Jane", is a big hit with all the (male, of course) scientists and politicians.

Jane is employed to determine which of the 5500 stars with 80 light years of Earth would be most likely to be inhabitable so that humanity's limited interstellar capacity can be used most efficiently.  Jane fingers three candidates, but she and her maker are killed in a freak accident.  Only Susan Calvin can save the day.

The story drips with male chauvinism, but ultimately, that's the point.  It's an uncomfortable ride, but wait for the end, which redeems the story.

Three stars.

Come to Me Not in Winter's White, by Harlan Ellison and Roger Zelazny

A brilliant physicist discovers his wife has but one year to live.  He builds a room in which time goes much more slowly so that he will have more time to discover a cure.  When the wife gets lonely (since she's by herself for all of…what…a week?) the husband picks out a brilliant but plain woman to be his wife's companion.

Decades later, when the physicist discovers the cure, he returns to the room to find the two women making love.  Jealously, he locks the room and accelerates time, leaving his wife to die, his wife's lover to live out the rest of her life with the corpse, and for both of them to be out of the physicist's ken in the blink of an eye.

I didn't like the story much when I read it, and now, having to revisit it for this summary, I realize that I hate it.  Not just for the misogyny, but for the absurdity of the premise (there are no spinoff societal effects from inventing time control?!) and the laughability of the final insult—oh no! Wife is not only unfaithful but (whisper it) a homosexual!

One star.

The Movie People, by Robert Bloch

A perennial extra, veteran of 450+ films, spends most of his life at the Silent Movies.  He's not just reliving his glory days; it's how he can catch glimpses of his lost love, a fellow extra, who died in 1930, just as her career was beginning to take off.

The fellow knows every movie, every scene in which he and his girlfriend appeared.  So why does she start showing up in films she never appeared in before, some that even date to before her start in show biz?  And why does it seem she is mouthing messages for him alone?  Is she enjoying a kind of celluloid life after death?

A pleasant, sentimental story.  Three stars.

A Final Sceptre, a Lasting Crown, by Ray Bradbury

Once transportation via personal helicopter becomes a cheap and ubiquitous reality, everyone moves away from points north of 40 degrees latitude to reside in California, Florida, the Mediterranean, and other like climates.  This is the tale of the last man in England, and the friend who tries to convince him to join the other emigrés.

I kept waiting for the other shoe to drop on this one—was the Earth growing cold?  Had their been a calamity in the Northern Hemisphere?  No.  People were just leaving wholesale out of personal preference.

Never mind that some people like seasons.  Never mind that the tropics can't fit all those people.  Never mind that Aleuts and Laplanders haven't left their ancestral homes despite the capability of moving to town if they want to.

Lots of folks like Bradbury.  Maybe I started on him too late.

Two stars.


by Gahan Wilson

Worlds in Confusion, by Isaac Asimov

Wherein the Good Doctor takes on Velikovsky and his ridiculous, religion-cloaked-in-pseudoscience tome, Worlds in Collision.  Did Jupiter really eject Venus as a comet?  Did that rogue planet stop the Earth in its tracks, causing no ill effects beyond the Ten Plagues and the pausing of the day at the Battle of Jericho?  Do people really believe this claptrap?

Four stars.


by Chesley Bonestell

"Russian astronauts have arrived on the rim of Copernicus only to discover that the Americans have already been there …"

The Soft Predicament, by Brian W. Aldiss

A mission to Jupiter finds the gas giant teeming with life.  On the Moon, a giant black edifice (made by people, not aliens) sifts human dreams, becoming the repository for archetypes—the goal to find a solution to strife and hatred in the world.  On Earth, the globe is split between Communist, Free, and Black domains.  The "Free" world is highly regimented, with children taken from their parents after a decade, and marital partners divorced on the same schedule.

Our protagonists, such as they are, are neurotic Westciv citizens, adapted, but not adjusted, to the new way of life.  Their collected dreams represent the only way out of the mess technology has gotten us into.

What a lousy story this is.  Turgid, mock-momentous claptrap.  Budget Ballard.  Thoroughly unentertaining, its message buried, and not a lick of science to be found in this so-called science fiction.  I recognize that the definition of the genre now goes beyond nuts-and-bolts engineering stories to include softer sciences like psychology and sociology, and that the New Wave is an experiment in bringing a degree of literary-ness to SF, but this is too much of a thing.

One star.

The Man Who Learned Loving, by Theodore Sturgeon

A brilliant engineer-turned-hippie stumbles upon the principle of perpetual motion.  In order to keep the discovery from being used for evil, he leaves his life of Bohemian idyll, cuts off his hair, and Makes it Big.  Thus armored in respectability, he carefully manages the revolution's global introduction, ensuring peace and propserity for all humanity.

Upon returning to the backwoods town where he left his lady love and a life of languor, his erstwhile paramour chides him for selling his soul for progress when he could have had love.

This is the sort of story Lafferty or Davidson might have played more for laughs, Sheckley more for bitterness.  Sturgeon presents it completely straight, and as always, he writes pretty well.  His statement seems to be: rather than just be nice and preach love, actually do something to make the world better.

On the surface, he has a point.  Free love is all very nice, but aren't those dirty hippies really just parasites on real working society?  On the other hand, Sturgeon rigs the deck.  His hero discovers the patently impossible after a few days' work.  Moreover, there are plenty of believers in the hippie ethic who are working, giving, and improving the world.  It's a mentality, not a nationality.

Sturgeon, who predates the Swinging Sixties, obviously bears some resentment toward the new crowd.  Kicking straw men is not the answer.

Three stars.

The Electric Ant, by Philip K. Dick

Mr. Poole, executive of a powerful corporation, is in a flying-car accident.  When he regains consciousness, he finds he is not a human at all but an "electric ant"—an android.  Designed to be a figurehead, all of his memories are programmed, his life a lie.

He becomes determined to find the nature of his ongoing programming and discovers that there are no further limits on his thoughts and activities.  He does, however, discover a punched tape spool that controls his sensory input.  Poole begins fiddling with it, altering his subjective reality.  His ultimate goal is to experience everything in the universe at once, something he thinks, as a robot, he can handle better than a human might.

Dick once again turns in a story about a middle-aged man going through an existential crisis.  There is also the drug-use metaphor (Dick is into uppers, I understand).  It doesn't make the most sense—the ant's reality is subjective, but the external universe also exists, so what, exactly does the tape spool control? Poole is determined to find out, taking himself on a psychedelic, 2001-esque journey whose mission is to prove or disprove Solipsism. I feel Dick takes the easy, the obvious way out, at the very end.

Three stars.

Get a Horse!, by Larry Niven

Niven returns to the realm of fantasy, but this time, with a completely new character and setup.  Hanville Svetz is a hapless time traveler from more than a thousand years from now.  Hailing from a polluted, dictatorial future, he has been sent back to 1200 AD to find an extinct beast for the Secretary General's zoo—a simple horse.

What Svetz actually finds, and the troubles that befall him on his quest are interesting and delightful.  There is a deft, sardonic touch to this story, and room has been left for many follow-ups.  I look forward to them.

Four stars.

Science Fiction for the woodpile

As with last month, the latest F&SF finished on the wrong end of the 3-stars mark.  Though F&SF is the shortest of the SF digests, it took me the longest to finish.  I just wasn't looking forward to it.  I can see why my nephew, David, canceled his subscription a few years back. It's a pity that this twentieth anniversary issue is so dismal compared to the ones that came out when the magazine was young. That said, hope springs eternal, and I would hate to miss stories like Get a Horse!.

I just wish my job would let me skip the stories I don't like…




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Movies

[September 20, 1969] Cinemascope: Stitched from the past; schemed from the future (Frankenstein Must Be Destroyed and The Italian Job)

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by Fiona Moore

1969 continues to disappoint on the genre cinema front, at least in the UK. So here we have a middling horror picture, and a very good picture which is sort of SF, if you squint at it right.

Frankenstein Must Be Destroyed

Frankenstein Must Be Destroyed Poster
Poster for Frankenstein Must Be Destroyed

After too long an absence from Hammer, it’s good to see Terence Fisher back at the helm of another Peter Cushing Frankenstein movie. This one sees the eponymous Baron on the trail of his former assistant Brandt (George Pravda), who has been confined to a lunatic asylum somewhere in Mitteleuropa. Frankenstein plans to extract from Brandt the secret of preserving brains on ice, in a homage to Frankenstein’s conviction in the first movie that he could use his technology to indefinitely prolong the lifespans of geniuses by transferring their brains from body to body. Frankenstein inveigles his way into the lives of a young doctor at the asylum, Holst (Simon Ward), and his fiancée, Anna (Veronica Carlson), using a combination of blackmail and psychological manipulation to gain their assistance. However, Brandt suffers a heart attack, meaning his brain must of course be transferred into another person’s body (Freddie Jones), and further violence and chaos ensues.

Hammer have clearly been taking notes from the recent success of Witchfinder General (1968), as the movie’s main strength is the psychological horror of the way Frankenstein encourages his victims on to more and more awful crimes. Frankenstein’s hold over Holst is that the latter has been secretly dealing narcotics in order to pay for medical treatment for Anna’s mother, a development which speaks to contemporary concerns about the ready availability of drugs and the moral questions surrounding their use. I should also warn viewers about a graphic rape scene which just about manages to stay within the bounds of being played for horror and not titillation, but is still rather disturbing.

Peter Cushing as the Baron in Frankenstein Must Be Destroyed
Peter Cushing terrifies as the sinister Baron Frankenstein

Cushing is genuinely and credibly terrifying in the title role, giving the Baron a more physical performance while retaining the psychopathic coldness and inhumanity of the previous films. Fisher retains his fondness for startling but appropriate juxtapositions, for instance following Anna’s remark to the Baron “you’ll find it very quiet here” with a cut to a screaming madwoman in the asylum. There’s a nice bait-and-switch early on regarding the Baron’s identity (and one which seems like a callback to the familiar saw about the Baron really being the monster), and we also get a suitably comic morgue attendant at one point. Production values are high for a Hammer film, with some very good creature makeup and a pyrotechnic ending.

The Creature in Frankenstein Must Be DestroyedFreddie Jones as The Creature cuts a pathetic figure

Nonetheless, the movie suffers from some annoying plot holes and character contrivances, as well as an opening scene which goes nowhere and adds nothing to the plot, and a resolution which I found lacking in credibility and, indeed, closure. There are also a number of Dickensian coincidences (a doctor at the very lunatic asylum the Baron wants to get into having a fiancée who runs a boarding house, for instance), which might be forgiveable as an element of the genre but do tend to grate. I would place this as the third best of the franchise, after Curse of Frankenstein and Frankenstein Created Woman: however, in a year where decent horror movies have been thin on the ground, it’s a welcome relief. Three and a half stars.

The Italian Job


Poster for The Italian Job

The Italian Job is a joyous heist comedy and a welcome counter to some of the divisive language finding its way into British social and political discourse. Britons from all walks of life—Cockneys, aristocrats, homosexuals, immigrants, professors and others—come together to pull off a clever theft and raise the proverbial two fingers to rivals on the Continent.

When his Italian partner in crime meets a surreal end on a mountain road courtesy of the Mafia, Charlie Coker (Michael Caine) enlists the help of Bridger (Noel Coward), a mastermind who doesn’t let a long-term prison sentence stop him from running a criminal empire, by appealing to his patriotism. Coker and a diverse variety of colorful associates plan and carry out a daring raid on a secure convoy carrying $4 million in gold, under cover of a traffic jam and an England v Italy football game. After a delightful set-piece involving red, white and blue Mini Coopers racing through, above and below the streets of Turin, the criminals seem to have gotten away with it—but have they?

Coker (Michael Caine) briefing his diverse band of criminals.Criminals from all walks of British life, in a planning meeting

The movie is technically SF, in that it contains a scene showing the way in which a computer might be compromised using a piece of malicious software on a magnetic tape—which, when introduced into the Turin traffic system, interferes with the cameras and allows our protagonists to conduct their raid. Happily this seems to be only a theoretical possibility at this point, but it’s an intriguing idea. The movie also draws liberally on the surreal comedy of recent television series like The Prisoner and The Avengers, which are often considered at least nominally science fiction.

The movie’s strengths lie in its pace, its spectacular driving set-pieces and its humour, which manages to be simultaneously proud and self-deprecating. Coker’s motley crew are variously dim-witted, incompetent, oversexed and lacking in foresight, and yet they manage to pull off a daring raid against the clearly much more organised Italian Mafia. The movie also makes satirical comments on the connections between crime and the Establishment in both Britain and Italy, and there’s a suggestion of Tati’s playful anti-technology message in the way in which the traffic system is brought to a standstill and joyous chaos erupts in its wake.

Mini Coopers driving through an Italian palazzo.The Minis! They're amazing! They go everywhere!

It's a little sad, though, that all this joy and unity comes at the expense of disliking our neighbours. Given that the current political situation suggests we need to join the Common Market, the jocular but nonetheless pointed sense of Britain isolated, fighting against Europe and, indeed, the world, could strike a worrying note. I also observe that Coker’s crew contains no one from the Celtic Fringe of this country (relatedly, women also seem to be excluded from the merry band, except as sex objects). However, to be fair, Coker’s raid is initially planned as a joint Italian-British enterprise, the money is coming in to Fiat from China, and there’s a long speech about the relevance of the Italian immigrant community in Britain. So perhaps I’m reading too much into it.

I suspect joining Europe is an inevitability for the United Kingdom. If so, it’s good that we’re coming in with a clear sense of common identity and national pride, showing everyone that we can laugh at ourselves and drive our tiny cars alongside the best of them.

Four stars.




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Fashion, music, politics, sports

[September 18, 1969] Neo-Rococo Dreaming

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by Gwyn Conaway

The Woodstock Music and Art Fair 1969 will live on in fashion for hundreds of years. Truly, this little festival of love is already making waves within weeks of the event. Like other artist-driven movements before it–the Pre-Raphaelites, Aesthetes, and Primitifs, to name a few–the Hippie Movement will inspire again and again, living on in infamy as the pinnacle of rebellion, freedom, and youth.


Ossie Clark Aeroplane, 1969 by Jim Lee.

Let us then take a moment to appreciate that we are living in a moment of great aesthetic change. If French Rococo had come from the cobblestone streets instead of the marble steps of the palace, this is what it might have felt like. Wondrous, confident, inclusive, worldly… Let us fall into our own naturalistic dream through a cacophony of colors and patterns, divine geometry, and just the exquisite mess of it all.

Without further ado, here are three les créateurs du jour to celebrate and thank for the vibrant fantasy that is 1969.


Ossie Clark has said that this photograph is meant to comment on soldiers that fool around and don’t take the war seriously. Celia Birtwell represents a peasant girl being sexually assaulted by a soldier holding a gun to her thigh while wearing one of Ossie’s floral dresses, 1969.

Ossie Clark is making the biggest splash of his career right now, and for good reason. Photographer Jim Lee helped bring his vision to life for the editorial series entitled 'Vietnam', a brutal commentary on both the realities of the war and his ardent hope for peace. His other photoworks with Jim Lee depict a similar combination of violence and vibrance that feel both glamorous and political. 'Target' uses the same bright, primary palette, but is reminiscent of suicide bombers. Ossie Clark has mentioned that his intent with the photo was to make it appear as if Celia Birtwell had survived a nosedive unscathed.


Celia Birtwell wearing an Ossie kaftan dress in parti color yellow and green. Interestingly, the fourth attempt at this photograph left the detonation expert badly burned.

Ossie Clark would not be complete, however, without his life and design partner, Celia Birtwell. Her Botticelli print has inspired much of Ossie’s fashion this year, making its way onto trousers, peasant tops, kaftans, and gowns. She is the mastermind behind the “floating” textiles that make his designs so bold and nymph-like.


The “Botticelli” print by Celia Birtwell on Ossie Clark’s chiffon and satin trouser suit, 1969.


The “Floating Daisy” and “Poppy” prints by Celia Birtwell on Ossie Clark’s crepe and chiffon evening dress and coat, 1969.

Zandra Rhodes is another exceptional designer with an eye for color that simply glows with life. Her first collection came out this year, titled “The Knitted Circle.” The stand-out piece from her very first collection is the jaw-dropping Butterfly Coat. This coat made of golden wool with a quilted collar that curls away from the neck like butterfly wings, dragged towards the ground with elegant beaded cords. The bodice’s embroidery is a trompe l’oeil print, which keeps its volume and shape from becoming too heavy. And the skirt’s rose and diamond print is reminiscent of gardens and tea in a charming, youthful way.


The Butterfly Coat’s skirt is a full circle gathered into a fitted bust, emblematic of the circular tailoring theme that Rhodes uses across the entire collection, 1969.

Other garments in the collection are ethereal and frothy, following the theme of full circle cutting in the skirts and balloon sleeves. The circular motif is inviting but powerful. When combined with Rhodes’ deft hand at color, it speaks to the energy of young women and their audacity to be happy as themselves.


Detail of the Butterfly Coat by Zandra Rhodes, 1969.

Let us end this little tour with a man of many talents. Giorgio di Sant’Angelo has apprenticed under Pablo Picasso and Walt Disney, worked as a textile designer for furniture, and studied industrial design. His personality is big and his look cherubic. Most stunning, though, is that his work embodies it all.


Sant’Angelo in 1968 photographed with a model draped in his scarves.


The scarf wall at the Phoenix Art Museum.

Sant’Angelo is daring and bold, but there’s an inherent softness to his work. He combines organic subjects with psychedelic color, and geometry with hand-drawn repetition rather than precision. There’s a speculative element to his work that makes one think he wishes to drape you in dreams rather than necessarily create clothing.

Even his heavier textiles maintain the dreamlike crossroads between geometry and mysticism. For his photoshoot with Veruschka for Vogue in 1968, he supposedly took only fabrics and jewelry, draping each frame by hand. The result is a mesmerizing dance of triangles and circles.



The above photographs are from the Vogue desert photoshoot, photographed by Franco Rubartelli.

Enjoy these watershed years, my friends! We are seeing the future being shaped as we live and breathe. What will the Hippie movement lead to next? Fops and dandies? Peasant dresses and pastorales? It will seep into our daily lives, of that there is no question.

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Book, Science Fiction/Fantasy

[September 16, 1969] September 1969 Galactoscope

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[And now, for your reading pleasure, a clutch of books representing the science fiction and fantasy books that have crossed our desk for review this month!]


by Victoria Silverwolf

Ye Gods!

Two new fantasy novels, both with touches of science fiction, feature theological themes.  One deals with deities that are now considered to be purely mythological, the other relates to one of the world's major living religions.  Let's take a look.

Fourth Mansions, by R. A. Lafferty


Cover art by Leo and Diane Dillon.

The title of this strange novel comes from a book written by Saint Teresa of Avila, a Spanish Christian mystic of the sixteenth century.  This work, known as The Interior Castle or The Mansions in English, compares various stages in the soul's spiritual progress to mansions within a castle.  From what I can tell from a little research, the Fourth Mansion is the stage at which the natural and the supernatural intersect.

(I'm sure I'm explaining this badly.  Interested readers can seek out a copy of Saint Teresa's book for themselves.)

I understand that Lafferty is a devout Catholic, so this connection between his latest novel and what is considered to be a classic of Christian literature must be more than superficial.  Be that as it may, let's see if we can make any sense out of a very weird book.

Our hero is Fred Foley, a reporter who is said to be not very bright, but who seems to have some kind of special insight or perception as to events beyond the mundane.  (A sort of Holy Fool, perhaps.) He gets involved in multiple conspiracies of folks, who may be something other than just ordinary human beings, out to change the world.

There are four such groups, said to be not quite fit for either Heaven or Earth.  Each one is symbolized by an animal.

The Snakes, also known as the Harvesters, are a group of seven people who blend their psychic powers to influence the minds of others.  They are intent on bringing about a sort of hedonistic apocalypse.  Their connection to Foley and other characters allows for telepathic communication, and sets the plot in motion.

The Toads are folks who are reincarnated, or somehow take over new bodies.  (It's a little vague.) Foley's investigation into one such person starts the novel.  They intend to release a plague, wiping out most of humanity and ruling over the survivors.

The Badgers are people who are something like spiritual rulers of a kind of parallel world that most ordinary people can't perceive.  Foley pays a visit to a couple of these seemingly benign people for information.  In one case, this involves a trip to a mountain in Texas that shouldn't be there.

The Unfledged Falcons are would-be fascists, military leaders trying to take over the world by force.  Only one such person appears in the book, a Mexican fellow named Miguel Fuentes.  He gets involved when the Snakes try to influence an American named Michael Fountain (see the connection in names?) and wind up entering his mind by mistake.

I would be hard pressed to try to describe all the bizarre things that happen.  Lafferty has a way of describing extraordinary events in deadpan fashion.  (We're very casually told, for example, that one character brought a dead man back to life when he was a boy.  One very minor character is a demon, and another one is an alien.)

The book's combination of whimsey and allegory is unique, to say the least. There's a lot of dialogue that sounds like nothing anybody would ever say in real life.  Did I understand it all?  Certainly not.  Did I enjoy the ride?  Yep.

Four stars.

Creatures of Light and Darkness, by Roger Zelazny


Cover art by James Starrett.

Zelazny's recent novel Lord of Light offered a futuristic twist on Buddhism and Hinduism.  This one makes use of ancient Egyptian gods, as well as a bit of Greek mythology.  There are also a lot of original concepts, making for a very mixed stew indeed.

The time is the far future, when humanity has settled multiple planets.  Don't expect a space opera, however.

We begin in the House of the Dead, ruled by Anubis.  He has a servant who has lost his memory and his name.  Anubis gives him the name Wakim, and sends him to the Middle Worlds (the physical realm) to destroy the Prince Who Was A Thousand.  Meanwhile, Osiris, who rules the House of Life, sends his son Horus on the same errand.

You see, Anubis and Osiris keep the population of the Middle Worlds in balance, bringing life and death in equal amounts.  The Prince threatens this system with the possibility of immortality.  Although the two gods have the same goal, they are also rivals, so their champions battle each other as well as the Prince.

This is a greatly oversimplified description of the basic plot.  A lot more goes on, with many equally god-like characters.  There's a sort of scavenger hunt for three sacred items, with the protagonists hopping around from planet to planet in search of them. 

Zelazny experiments with narrative techniques, from poetry to a play.  There's some humor, as demonstrated by a cult that worships a pair of shoes.  (They actually play an important role in the plot.) The pace is frenzied, with plenty of purple prose.

Full understanding of what the heck is really going on doesn't happen until late in the book, when we learn the actual identities of Wakim and the Prince.  Suffice to say that this requires a lengthy description of apocalyptic events that took place long before the story begins.

Some readers are going to find this novel disjointed and overwritten.  Others are likely to be swept away by the richness of the author's imagination.  I'm leaning in the latter direction.

Four stars.


by Fiona Moore

Damnation Alley

Roger Zelazny’s been busy this month! His new novel Damnation Alley expands his novella of the same name into an action piece which is exciting enough but ultimately unsatisfying, a sort of postapocalyptic pony express with futuristic vehicles and implausible characters.

Cover of Damnation Alley
Cover of Damnation Alley by Jack Gaughan

The story is set in a relatively near-future USA after a nuclear war which has split it into isolated states within a radiation-ravaged wasteland, the only relatively safe passage through which is a corridor known as Damnation Alley. There are pockets of radiation, giant mutant animals and insects, tornadoes and killer dust storms. The descriptions of these is the book’s real strength, with some of them verging on the genuinely poetic. Our protagonist is Hell Tanner, a former Hell’s Angel who is offered a pardon for his crimes by the State of California, if he’ll deliver a shipment of vaccines to Boston, which has been hit by an outbreak of plague. Of course, this necessitates driving through Damnation Alley, but never fear, Tanner is also driving a super-tough vehicle bristling with weaponry.

The whole thing is almost laughably macho in places, and I say that as someone who really quite likes both cars and adventure stories. Tanner is that implausible archetype, the bad guy who nonetheless somehow has other people’s best interests at heart. However, there’s also some nice contrasts set up between Tanner and the criminal world he inhabits and the much more normal parts of society he encounters on his journey, where people seem to be on the whole generally decent and kind, making Tanner’s casual violence seem all the more out of place.

The book has a lot of problems. Some are clearly the result of padding it out to novel length, with several episodes which go nowhere and add little to the story. The characterisation of everyone aside from Tanner is weak to nonexistent. In particular, the main female character, Cordy, is a frustrating cipher: she is a woman who Tanner essentially abducts, and yet she shows none of the emotions one might expect under the circumstances, while Tanner seemingly comes to think of her as his girlfriend despite neither of them making any moves in that direction.

However, the biggest problem is that there are too many holes in the story for it to stay afloat. Despite the devastation of the land around it, the state of California somehow still has the resources to build giant armoured cars bristling with every kind of weapon from bullets to flamethrowers. Only two human beings are apparently capable of making the trip from California to Boston, which is surprising given the aforementioned level of technology and that there is clearly no shortage of young men with a death wish. Tanner makes it almost to Boston before encountering anyone who makes a serious effort to steal the vaccines, which I also find somewhat implausible. And so on, and so on.

Damnation Alley held my attention for the duration of a train journey and had nicely surreal, well-paced prose in places, but it was just too unbelievable for me to really enjoy it. Two and a half stars.

by Brian Collins

Since he returned to writing some half a dozen years ago, Robert Silverberg has tried to reintroduce himself as a more “serious” writer. This is not to say his rate of output has slowed down in favor of more refined work; if anything the past few years have been the busiest for him since the ‘50s. This year alone we have gotten enough novels from Silverberg that a bit of a catch-up is in order. The first on my plate, Across a Billion Years, hit store shelves a few months ago, from The Dial Press (I believe this is Silverberg’s first book with said publisher), and it seems to have flown under the radar—possibly because there’s no paperback edition, and also it might be aimed at younger readers. The second book we have here, To Live Again, is from Doubleday, and it too is a hardcover original; but unlike Across a Billion Years, To Live Again is a new release, fresh out of the oven.

Across a Billion Years, by Robert Silverberg

Two faces framed within a circle.
Cover art by Emanuel Schongut

It’s the 24th century, and humanity has not only spread to other worlds but encountered several intelligent alien races along the way. Tom Rice is a 22-year-old archaeologist on an expedition to find the ruins of a bygone race called the High Ones, who apparently lived a billion years ago (hence the title) but who have since vanished. Whether or not the High Ones have gone extinct is one of the novel’s core mysteries, although Silverberg takes his time raising this question. The novel is told as a series of diary entries, or rather messages Tom sends to his sister Lorie. In a curious but also frustrating move, Lorie is arguably the most interesting character in the novel, yet we never see or hear her, as she’s not only away from the action but stuck in a hospital bed for an indefinite period. Lorie is a telepath, and enough people are “TP” to make up their own faction, although telepathy only works one-way and Tom himself is not a telepath. The one positive surprise Silverberg includes here is finding a way to tie telepathy together with the mystery of the High Ones, but obviously I won’t say how he does it.

As for bad surprises, well…

Even taking into account that Tom is a young adult who also has personal hang-ups (his father wanted him to enter real estate), his treatment of his colleagues is abhorrent in the opening stretch. He dismisses the aliens on the team as mostly “diversity” hires and has a standoffish relationship with Kelly, the female android on the team, whom he more than once compares to a “voluptuous nineteen-year-old.” Why someone of Tom’s age would make such a comparison is befuddling…unless you were really a lecherous man approaching middle age and not a recent college graduate. There are a few other humans here, but the only human woman present is Jan, whom Tom gradually takes a liking to—just not enough to do anything when he sees Leroy, a male colleague, sexually assault Jan near enough that he could have intervened. This happens early in the novel, and I have to admit that Tom’s indifference regarding Jan’s wellbeing, a weakness in character he never really apologizes for, cast a cloud over my enjoyment of the rest of the novel. I kept wondering when the other shoe would drop. That Tom and Jan’s relationship turns romantic despite the former’s callousness only serves to rub salt in the wound. The bright side of all this is that while some of Silverberg’s recent work has bordered on pornographic, Across a Billion Years is relatively tame, almost to the point of being old-fashioned.

Indeed, this feels like a throwback to an older era of SF, even back to those years when Silverberg (and I, for that matter) had not yet picked up a pen or used a typewriter. In broad strokes this is a planetary adventure of the sort that would have been serialized in Astounding circa 1945. We’re excavating alien ruins on Higby V, a distant planet where High Ones artifacts have been supposedly found. During a drunken escapade one of the alien diggers stumbles upon (or rather breaks into) a piece of High Ones technology, something akin to a movie projector, not only showing what the High Ones look like but revealing a clue as to the location of their homeworld. This should sound familiar to most of us, and I suspect Silverberg knows this too, because this novel’s biggest problem and biggest asset is how it uses perspective. We’re stuck with Tom as he sends messages to Lorie, recounting events in perhaps more detail than he has to, knowing in advance that his sister won’t receive these messages until after the fact. As with a disconcerting number of Silverberg protagonists, Tom can be annoying, and honestly quite bigoted; and since he is the perspective character we’re never relieved of his oh-so-interesting remarks. But, and I will give Silverberg this, he does put a twist on the epistolary format very late in the novel, which does the miraculous thing of making you reevaluate what you had been reading up to this point.

In other words, this is not an exceptional novel, but it does have its points of interest, and with the exception of an early scene and its ramifications (or lack thereof), nothing here made me want to throw my copy at a nearby wall. For the most part this is inoffensive—possibly even decent. Three stars.

To Live Again, by Robert Silverberg

A minimalist drawing of a half-silhouetted faced.
Cover art by Pat Steir.

Those who want a bit more sex with their science fiction can do worse than this one, which looks to be the fourth (or maybe fifth—I’ve lost count) Silverberg novel of 1969. It’s the near-ish future, and the good news is that for those with enough money, death is not necessarily the end. Courtesy of the Scheffing Institute, a person can have their memories stored periodically, making copies or “personae” of themselves, which can be transplanted to the brain of a living host. The host and the persona will cooperate, lest the latter erase the former’s personality and become a “dybbuk,” using the host’s body as a flesh puppet.

The infamous businessman Paul Kaufmann has recently died, with his persona waiting to be claimed. Paul’s nephew, Mark, and Mark’s 16-year-old daughter Risa each see themselves as ideal candidates for Paul’s persona, but one of the rules at the Institute is that close family members can’t host each other’s personae: the implications of, for example, a teen girl hosting her grandfather’s persona, would be…concerning.

While we’re on the lovely topic of incest, let’s talk more about Risa, who must be one of the thorniest of all Silverberg characters, which as you know is a tall order, not helped by the fact that Silverberg describes, in almost poetic detail, every curve of this teen girl’s nude body—and she does strut around naked a surprising amount of the time. Risa is such a depraved individual, despite her age, that she at one point tries seducing an older male cousin and rather openly has an Electra complex (they even mention it by name), which Mark is understandably disturbed by—with the implication being that Mark has lustful thoughts about his own daughter. This is the second Silverberg novel I’ve read in two months to involve incest, which worries me.

The only other major female character is Elena, Mark’s mistress, whom Risa sees as a rival for her father’s affections and who (predictably) starts conspiring against Mark. Not content to ogle at just 16-year-olds, Silverberg also takes to describing the nuances of Elena’s body in wearying fashion, which does lead me to wonder if he was working the typewriter one-handed for certain passages. It’s a shame, because there’s an intriguing subplot in which Risa acquires her first persona, a young woman named Tandy who had died in a skiing accident—or so the official record claims. Tandy, or rather the persona of Tandy, recorded a couple months prior to her death, suspects foul play. Of the women mentioned, Tandy is the least embarrassingly written, but then she is only tangentially related to the plot and, what with not having a physical body, Silverberg is only able to ogle at her so much.

I’ve not even mentioned John Roditis and his underling Charles Noyles, business rivals of Mark’s who are clamoring for Paul’s persona. You may notice that this novel has more moving parts than Across a Billion Years, and certainly it’s the more ambitious of the two, the problem being that its shortcomings are all the more disappointing for it. Silverberg raises questions that he can barely be bothered with answering, and he alludes to things that remain mostly unrevealed. Much of To Live Again is shrouded in speculation, which is to say it uses speculation as a night-black cloak to cover things we sadly never get to see.

Another rule at the Institute is that a persona has to be of the same gender as its host, a rule that characters mostly write off as bogus. And indeed why not? Why should a male host and female persona not be able to coexist? Or the other way around. The prohibition has to do with transsexualism, which is certainly uncharted water for the most part. There has been very little science fiction written about transsexualism or transvestism—the possibility of blurring and even crossing gender lines. Unfortunately the novel does little with the ideas it presents. There are multiple references to religion and mythology (the word “dybbuk” refers to an evil spirit in Jewish mythology), including lines taken from the Tibetan Book of the Dead. There’s a minor subplot about white Californians appropriating Buddhist practices, in connection with the Institute, but this is so tangential that the reader can easily forget about it.

Finally, I want to mention that I was reminded eerily of another novel that came out this year, Philip K. Dick’s masterful and deranged Ubik, which I have to think Silverberg could not have known about when he was writing To Live Again. Both take cues from the Buddhist conception of reincarnation, although in Dick’s novel people who have died are kept in a state of suspended animation called “half-life,” whereas Silverberg’s characters die the full death, or “discorporate,” only that their personalities (up to a point) are kept intact. Not to make comparisons, but given that Silverberg’s novel is longer than Dick’s I have to say he does a fair bit less with the shared material. Of course, these are both talented writers, who at their best do very fine work indeed. Silverberg has become a major writer, but sadly he is not firing on all cylinders with either of the novels I’ve covered.

Hovering between two and three stars on this one.


by George Pritchard

The Glass Cage by Kenneth W. Hassler

The mockery for this book writes itself:

  • This book made me think of a Bulwer-Lytton novel for the Space Age.
  • This book could make Damon Knight take back everything he said about van Vogt.
  • This book made me long for the complexity of Commander Cody shorts.
  • This book’s style is so out of date that I think it fell out of the TARDIS.
  • This book wishes it had the character depth of a Lin Carter work.

And yet, I can't hate it the way I hated Light A Last Candle. That book was one mass of forgettable hate, but The Glass Cage is not hateful. It's incompetent at every turn, from line editing to plot development (I really don't know how it got the hardcover copy I received), but the overall effect is an oral record of a children's game.

There's this guy, Stephen, he’s twenty! He's a neophyte to the priests of the computer, TAL! It keeps life going in the city beneath its glass dome! Stephen is a perfect physical specimen, and his only flaw is being too curious about things. But that's because he’s secretly a spy for the Rebellion outside the glass dome!

The sentences are short and rarely have the benefit of internal punctuation. The characters are, generally, exactly how they appear — wicked characters with their close-together eyes, good characters with their strong jaws, straightforward manner, and perfect blonde hair. If this is chosen for adaptation, Tommy Kirk is made for the lead part.

The treatment of nuclear power seems to come from another time, where the leaders of interstellar development are in the Baltimore Gun Club rather than NASA. The giant computer, TAL, is attached to a nuclear bomb, to go off at a certain date, destroying the whole glass dome and the people within! No need to worry, though, Stephen and his various Rebellion people get most everyone out in time, except for the bad guy head priest of TAL, who is determined to die with his machine. Stephen and the gangster leader of the in-Dome Rebellion try to get him out, but to no avail! The nuclear bomb is about to go off, so the two of them hop on their air-sled, turn it skyward, and smash through the glass dome, just as the nuclear bomb goes off! Luckily, the nuclear bomb just pushes them a few miles away from the blast, where they are safe and unharmed.

One point of the book that is surprisingly forward-thinking is its treatment of one of the main characters being severely disabled. Despite being paralyzed from the neck down, he is a leader of the Rebellion, commanding through his immense psychic ability. But that cannot keep me from giving it…

Two stars

[A bit of a downer note to leave on, but at least there's some fine stuff upstream. See you next month, tiger!]




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55 years ago: Science Fact and Fiction