Tag Archives: 1966

Book, Science Fiction/Fantasy

[December 10, 1966] Hot and Cold (December Galactoscope #1)

1 Comment

But first, please read this brief interlude!

As you know, in addition to Galactic Journey, I also run Journey Press, devoted both to republishing classics discovered while on this trek through time, but also to publish new works of science fiction in fantasy that (I hope!) live up to the quality and tradition of the classic works we offer.

If anyone would enjoy these works, we know it will be you.  This holiday season, pick up a title or three from Journey Press!  It's the best present you can give yourself, a loved one…and us!


Gideon Marcus

Moon of Three Rings, by Andre Norton

Andre Norton has maintained a steady output of books, mostly adding to existing series like Witch World and Crosstime.  With Moon, she opens up an entirely new (at least to me) vista, and it's a beautiful view.

Krip Vorlund is a Free Trader, one of two merchant leagues with stops at a myriad of planets through the galaxy.  Moon takes place on Yiktor, a backwards world at the edge of known space, where Vorlund's ships makes planetfall.  There, in the trading town set up for star merchants, he encounters Maelen, member of the native Yiktor race, living among the more primitive human settlers. 

Maelen is a beast tamer, with a menagerie of disparate creatures that can make the performances on Hollywood Palace look like child's play.  Krip is enchanted, with the show and the showmaster, but this causes the spaceman to become thoroughly embroiled in a local political struggle with galactic ramifications.

Before Krip now lies imprisonment, physical and then mental as the only way to avoid capture by rival factions is to transfer his consciousness into the body of a native animal.  So begins the parallel journeys of Krip and Maelen, one to return to his original form, and the other to weave a destiny that allows the aid of Krip while betraying as few of her race's principles as possible.

The more I think about this book, the more I like it.  Both Krip and Maelen get equal time as viewpoint characters, the perspective shifting every chapter.  Their "voices" are distinct, Krip's being straightforward (if a bit formal) and Maelen's more abstruse (yet eminently readable), as befits an alien.  Any animal-lover will find this book compelling, as the actions and feelings of the various beasts are integral to the story.  Norton is particularly good at having two characters of different sexes forming a deep bond without being lovers. 

In true Norton style, she's also set things up for this to become a series.  I don't know if further adventures of Krip Vorlund and Maelen will be quite as compelling as their first (you'll understand why once you're done with this book) but I'll probably read them, nonetheless.

Four stars.


Kris Vyas-Myall

Saga of Lost Earths & The Star Mill by Emil Petaja

Emil Petaja Saga of Lost Earths & Star Mill

The return of Emil Petaja to science fiction was a delightful surprise to me. A writer from the pulp era who I had no memory of, produced one of my favourite novels of last year, Alpha Yes, Terra No!, along with a number of other strong pieces. So, when I heard he was doing a science fantasy series for Ace, you can be sure I picked them up.

Let us start with a quick summary of the context of these books. In the future, the world has eliminated violence through selective breeding, in order to avert yet another atomic war. In Saga of Lost Earths, a strange metal is found that appears to be causing destruction. Into this situation comes Carl Lempi who, according to Dr. Enoch, has the three characteristics required to face this new threat: 1. The capacity for violence, 2. A high level of extra sensory perception, and 3. A knowledge of Finnish and early legends.

In The Star Mill, we meet Ilmar, man who is rescued from an asteroid by a space crew and finds he has no memory of his life before. But then the space crew start dissolving around him. Is he a weapon designed to destroy humanity? Or its saviour from the approaching black storm?

These tales most remind me of Andre Norton’s adventures. Like in her recent work Moon of Three Rings, Petaja blends the kind of fantasy tale you would expect from Moorcock, Lieber or Jakes with well-conceived futures, without it being the Burroughs\Flash Gordon style of Sword and Wonder tales. A fusion of spaceships and sorcery that does not sacrifice either. Perhaps the best equivalent is Anderson’s The High Crusade. A clash of genres that avoids feeling anachronistic.

If there is one concern I have, it is the tendency, which does occur in a number of fantasy stories, to imply there is something magical about Northern European DNA. Whilst clearly stemming from fairy stories, this has two flaws; one, these kinds of myths exist within a number of cultures and there's no reason to assume that people of African descent have fewer myths and legends. Two, and more problematically, it obviously links into a kind of Nordic racial superiority. I do not assume this was the intent, but it is something that should be acknowledged, and of which other fantasy writers should be wary.

Also, like the aforementioned Norton tales, they contain solid character work and entertaining plots. But, at least for me, they also fail to rise above the level of escapist adventures. They are fun books that I will read once, enjoy, and probably never pick up again.

The next book in the series is scheduled for March and I am certainly going to be ordering my copy. After all, as Prof. Tolkien said:

Fantasy is escapist, and that is its glory.

And, by that measure, these are indeed glorious

A high three stars for each volume.


Jessica Dickinson Goodman

From Carthage then I came by Douglas R. Mason

The first opera written in the English language is called "Dido and Aeneas" by Henry Purcell, based on Vergil’s 19 BCE epic poem The Aeneid. First performed by an all-women company in 1689, it is a love story of equals: Dido, the African queen of Carthage and Aeneas, the erstwhile Trojan hero. In the final scene of the opera, Dido holds her best friend and sister Belinda’s hand as she sings what is known as Dido’s Lament, before climbing onto a pyre and setting it alight (it’s opera; it’s always this dramatic). Purcell’s Dido is a complete person: a ruler, a lover, a strategist, a flawed and tragic figure. Singing her lament was what made me fall in love with opera when I was 14, and the hope that Douglas R. Mason’s From Carthage then I came might include references to her was what made me pick up this book.

None of the women in Mason’s piece live up to Purcell’s Dido; when Tania Clermont dies by fire, she dies simpering and the narration swiftly focuses on her abuser's pain. All of Mason's women are poorly written and one-dimensional; incapable of forming strong bonds with other women and only existing in the negative space that the male characters permit them. I found it telling that in two separate scenes I was unable to tell if one of the women characters was unconscious or not, given how much the men around her were tossing her body around like a sack of potatoes (in one scene a man had knocked her out; in another she was theoretically awake). In From Carthage then I came, one male hero gropes a woman he is holding captive and forces her to sleep in his bed. The author makes clear we are to read this as romance.

The best thing about From Carthage then I came is its premise. The book opens on a prelude to revolution. For 7,000 years a pocket of humanity has been frozen inside of a climate-controlled dome as an ice age raged around them. Gaul Kalmer believes it is safe to leave, and is gathering a group to escape the mind-monitors and electric sun of Carthage to form a more natural colony called New Troy past the newly iceberg-free but still wine-dark Mediterranean Sea. But the weak writing fails to live up to the possibilities of the plot.

Instead of reading From Carthage then I came, let me recommend hunting for a recording of last summer's London Philharmonic’s performance of Dido and Aeneas at Glyndebourne, with the incredible Janet Baker as Dido. I promise it will transport you just as far as Mason’s piece promised to, contain just as many classical references as Mr. Kalmer tried to shoe-horn into his many speeches, and give you a newly rich appreciation for the now-Tunisian island of Carthage. I hear that Mason will be publishing more soon; let’s hope the next women he writes aren’t so lamentable.

Two stars.

(Did you remember to check out Journey Press? I promise our offerings as good as the best books reviewed here!)



1 Comment Leave A Comment
Magazine, Science Fiction/Fantasy

[December 8, 1966] Flesh and Blood (January 1967 Fantastic)

2 Comments


by Victoria Silverwolf

Burning Curiosity

It's probably just my morbid imagination, but it seems to me that the most intriguing, if horrifying, event in recent days was the demise of Doctor John Irving Bentley earlier this month. The elderly physician was reduced to a pile of ashes (except for part of one leg) in what some people are calling a case of spontaneous human combustion.


The scene of the fire. Notice the large hole in the floor caused by the flames. I have deliberately avoided sharing more gruesome photographs.

Church Music

After that piece of news, it's a relief to turn to a piece of light entertainment. The unique novelty song Winchester Cathedral by some British folks calling themselves the New Vaudeville Band, currently at the top of the American music charts, is a deliberately old-fashioned number. It sounds like something Rudy Vallee might have offered in the 1920's, complete with singing through a megaphone and a finishing chorus of oh-bo-de-o-do.


Rumor has it that the song was recorded by session musicians hired for the occasion, and that the band was hastily put together when it became a hit.

Well, that got me to thinking about all the folks buried in Winchester Cathedral. (There's that morbid imagination at work again.) The most familiar one — to me, at least — is the great author Jane Austen.


It is a truth universally acknowledged, that a dead woman in possession of a good reputation must be in want of a lengthy epitaph.

Gore on the Pages

Given my grim mood, it's appropriate that the
latest issue of Fantastic is full of violence, horror, and bizarre manipulations of the human body.


Cover art by Frank R. Paul, stolen from the back cover of the March 1941 issue of Amazing Stories.


The original, with brighter colors. The Reptile Men (no women?) are cute.

The Ultimate Gift, by Bryce Walton

We begin our journey into the macabre with the magazine's only original work.


Illustrations by Gray Morrow.

Aliens arrive at the Moon. They seem ready to conquer the world, but are hesitant about humanity's ability to put up a fight. They allow envoys to pay a visit, but kill them for some unknown violation of protocol. The dying words (thoughts, really, but let's not get into that subplot) of the most recent victim lead to an unusual choice for the next diplomat.

The so-called Basket Man was born without arms or legs. After years of misery, he winds up as a sideshow freak, making use of advanced technology to move around and manipulate things. In his bitterness, he refuses to have artificial limbs attached to his torso. A representative from the United Nations, based on the hint noted in the paragraph above, convinces him to acquire robotic arms and legs, and to head to the Moon to meet the aliens.


The fact that they're reptilian, sort of like the creatures on the cover, is relevant.

A little knowledge of zoology may lead you to predict the reason for the aliens' violent reaction to their visitors. As you may have guessed from my description, this is a ghastly little story, with a particularly disquieting scene near the end. It has a certain raw power, I suppose. Given the infamous thalidomide tragedy of not so many years ago, the premise may strike many readers as being in poor taste.

Two stars.

The People of the Black Circle, By Robert E. Howard

Dominating the issue is a bloody sword-and-sorcery adventure, featuring a hero who seems to be making a comeback of sorts. This novella was originally serialized in three parts, in the September, October, and November 1934 issues of Weird Tales.


All cover art by Margaret Brundage.


Brundage often painted scantily clad young ladies for the magazine.


Two scantily clad young ladies.

Before I get into the story itself, let me talk about the revival of interest in Robert E. Howard and his most famous creation. The tales of Conan were left in the yellowing pages of old pulp magazines until specialty publisher Gnome Press starting collecting them in several volumes.


Cover art by David A. Kyle. The novella under discussion appears in this book, number two in the Gnome Press series, from 1952.

Earlier this year, the story appeared in a paperback collection. (It should be noted here that L. Sprague de Camp completed some of Howard's unfinished works about Conan.)


Cover art by Frank Frazetta.

The setting is an imaginary ancient past. There are clues that this takes place in a fantasy version of the Afghanistan/Pakistan/India region. (Some of the hints are a bit too obvious, such as a chain of mountains called the Himelians.) We begin with a king whose soul is about to be stolen by evil sorcerers. Rather than allow this to happen, he orders his sister to kill him.


Illustrations by Hugh Rankin.

This opening scene is just a hint of the carnage to follow. The plot is a complex one, with various factions scheming against each other, betrayals, allies becoming enemies, and foes forced to work together. Frankly, I had some trouble following it. In brief, the sister wants to force Conan, now the leader of a group of hill people, to wreak revenge on the sinister forces that attacked her brother. This involves several of his men who have been taken prisoner by another realm. (It's complicated.)

Instead, Conan kidnaps the sister, hoping to exchange her for the freedom of his men. This plan is ruined when a sorcerer, betraying the dark forces for whom he was working, works with the sister's disloyal servant on their own scheme to rule the land, which results in the death of Conan's men. (I said it was complicated.)


Conan, his captive, and a horse.

After a whole bunch of wild adventures, with plenty of killings, the pair wind up at the mountain where four powerful sorcerers dwell, along with their less powerful minions and one ultra-powerful sorcerer. By this time, the sister's hatred for Conan has turned to love, just in time for her to be kidnapped from her kidnapper, if you see what I mean.


One of the many torments to which the sister is subjected.

I hope this gives you some idea of the breakneck pace, non-stop action, and frequent plot twists in this story. I lost count of how many people are slaughtered by sword or magic. (At one point, Conan acquires a magic item that protects him from deadly sorcery. This seems awfully convenient.) There are even battle scenes, with hundreds or thousands of warriors massacring each other.

There's plenty of weird magic as well, which may be the most interesting part of the story. I was particularly impressed by the floating cloud on which the four sorcerers travel.

Howard had an undeniably important influence on sword-and-sorcery fiction, and his imitators continue the tradition. (Brak the Barbarian, created by John Jakes, comes to mind.) The raw intensity of Howard's style and the bloodthirstiness of his plots aren't for all tastes. Personally, I prefer the wit and elegance of Fritz Leiber's tales of Fafhrd and the Gray Mouser.

Three stars.

The Young One, by Jerome Bixby

From the April 1954 issue of the magazine comes this supernatural yarn.


Cover art by Augusto Marin.

Jerome Bixby is probably best known to SF fans for his chilling tale It's a Good Life and the memorable episode of Twilight Zone adapted from it. He has also dabbled in screenwriting, coming up with the kind of B movies I enjoy, such as It! The Terror From Beyond Space.


Illustration by Sanford Kossin.

A young boy meets a fellow his own age, newly arrived in the United States from Hungary. He seems nice enough, but all animals hate him. What's even stranger is that his parents eat raw meat and have very sharp teeth. (You can already see where this is going, can't you?)

The immigrant boy says he absolutely has to be back home before seven at night. The American kid tricks him by taking him into a cave, then pretending to be lost, so the Hungarian lad can't return until after his strict curfew. You can probably guess what happens.

It's an decent story, if predictable. (The exact way the plot is resolved may be a little bit unexpected.) The description of the cavern is intriguing, if nothing else.

Three stars.

The Ambidexter, by David H. Keller, M.D.

This Kelleryarn comes from the April 1931 issue of Amazing Stories.


Cover art by Leo Morey

The world's two greatest surgeons, one American and one Chinese, have a meeting. The American has a brain tumor, so he wants the Chinese physician to remove part of his brain and replace it with part of a brain from another person. Can you guess that this is going to go very badly wrong?


Illustration by Leo Morey also.

This tale of Mad Science reminds me of old horror movies, the kind that show up on Shock Theater. In particular, the transplant theme brings to mind things like Mad Love, although that was about hands and not brains.

The partial brain transplant concept is unique, as far as I know, and Keller's background as a physician makes the crazy idea seem somewhat plausible. The character of the Chinese surgeon reeks of the old Yellow Peril stereotype, unfortunately. Replace him with, say, Boris Karloff and you might have the basis for a decent black-and-white chiller. I don't think the censor would care for the ghastly ending, however.

Two stars.

Mad House, by Richard Matheson

The January-February 1953 issue supplies this reprint.


Cover art by Robert Frankenberg.

Like Bixby, Matheson is associated with Twilight Zone and has written screenplays for feature films. His movies are too many to list, but a couple worth mentioning are the Jules Verne adaptation Master of the World and The Last Man on Earth. (Apparently Matheson wasn't happy with this version of his novel I am Legend, so he used the pseudonym Logan Swanson for his share of the screenwriting credit. I actually thought it was pretty good.)

As with Howard's novella, Matheson's story has already been reprinted in a couple of collections. The first one is named after his first published story, already considered a classic.


Cover art by Mel Hunter.

The second one is sort of a reduced version of the first one, omitting some stories.


Cover art by Charles Binger.

This psychological horror story features a frustrated writer who ekes out a living as a poorly paid instructor of literature. He's nearly always boiling over with anger about his inability to be published, lashing out at his students and just about everyone else. Fed up with his rage, his wife leaves him.


Illustrations by Bill Ashman.

He also fights a daily battle with inanimate objects around the house. They seem to be conspiring to harm him. An acquaintance — he can't be called a friend, given the fact that the main character is as nasty to him as he is to everybody else — suggests that the house is sort of absorbing his anger.


Chaos ensues.

Like other stories in this issue, it leads to a blood-soaked conclusion. It's also similar in that it's pretty predictable. The best part of it is the author's style, full of short, rage-filled sentences that really get you into the main character's head. That's not a very nice place to be, of course.

Three stars.

Worth All That Suffering?

The magazine ends with this appropriately macabre anecdote, which I offer without comment.


I don't believe it. Oh, wait a minute, that was a comment, wasn't it? Sorry about that.

Not a great issue, although a bare majority of the stories were at least worth reading. The Conan story is of historical importance, anyway. I suppose the magazine would be enjoyable enough if you happen to be in a situation where you need to be waiting around.


Cartoon by somebody called Salame, from the same issue as the Matheson story.

[Join us tonight for the next episode of Star Trek — airing at 8:30 PM Pacific and Eastern!]




2 Comments Leave A Comment
Science Fiction/Fantasy, TV

[December 6, 1966] Welcome to the Space Prison: Space Patrol Orion, Episode 6: "The Space Trap"

2 Comments


by Cora Buhlert

A New Government and Ghosts of the Past

Since December 1, West Germany has a new government and a new chancellor after the coalition government between the conservative CDU/CSU and the liberal party FDP broke apart in October.

The new chancellor is 62-year-old Kurt Georg Kiesinger, an unremarkable and not very intelligent man. What makes his election problematic is that Kiesinger was not only a member of the Nazi Party, but high-ranking official in the foreign ministry during the Third Reich. Considering that West Germany was not very thorough about purging former Nazis from public life, having an ex-Nazi occupying the highest office in the land sends a disastrous signal.

Ludwig Ehrhard and Kurt Georg Kiesinger
The new West German chancellor Kurt Georg Kiesinger (on the right) with his predecessor Ludwig Ehrhard (left).

We can only hope that this government will not last long, because it is a so-called great coalition between the conservative CDU/CSU and the social-democratic party SPD, whose political aims are normally diametrically opposed. Besides, two SPD members of the new government, foreign secretary Willy Brandt and secretary for inner German issues Herbert Wehner, were driven into exile by Nazi persecution. I can't imagine them putting up with a former Nazi chancellor for long.

Space Spores and Droning Bores

Raumpatrouille Orion episode 6

Compared to the political situation in West Germany, "Die Raumfalle" (The Space Trap), the latest episode of Raumpatrouille – Die phantastischen Abenteuer des Raumschiffs Orion (Space Patrol – The Fantastic Adventures of the Spaceship Orion) was much more enjoyable.

Space Patrol Orion episode 6
Paperwork is the bane of McLane's life.

The episode starts with Commander Cliff Alister McLane (Dietmar Schönherr) receiving his latest orders from General Wamsler (Benno Sterzenbach). It's yet another routine mission (and we all know how well those tend to go for the Orion 8): Collect space dust in order to investigate the panspermia theory, which causes Wamsler's aide Spring-Brauner (Thomas Reiner) to drone on and on about the panspermia theory, i.e. the theory that life did not originate on Earth, but is distributed through the universe via spores hitching a ride with space dust, asteroids, meteorites, etc… The theory is the brainchild of Swedish scientist Svante Arrhenius, who also developed the theory of a global greenhouse caused by industrial carbon dioxide emissions, which played a role in the Orion episode "The Battle for the Sun". One of the writers is apparently a fan.

"Are you sure you want us to go on this mission?" McLane interrupts Spring-Brauner's monologue, "After all, we might disprove the theory and what would you talk about then?"

Raumpatrouille Orion episde 6
Lieutenant Spring-Brauner (Thomas Reiner) drones on about the panspermia theory, much to the annoyance of General Wamsler (Benno Sterzenbach) and Commander McLane (Dietmar Schönherr)

General Wamsler has another mission for McLane as well. Science fiction author Pieter Paul Ibsen (Reinhard Glemnitz), winner of the Utopia Award (no reference to the Hugo Awards, alas), wants to accompany the Orion on a mission. And since Ibsen is the future son-in-law of the secretary of interplanetary affairs, he gets his wish. McLane is as thrilled about this as you can imagine.

Raumpatrouille Orion
The Orion 8 receives clearnace for take-off by a traffic control officer (Christine Isensee).

An Unwanted Passenger

Raumpatrouille Orion
Pieter Paul Ibsen (Reinhard Glemnitz) arrives aboard the Orion and presents the crew with his latest book.
Raumpatrouille Orion episode 6
Ibsen meets the Orion crew.

No one aboard the Orion is keen on having Pieter Paul Ibsen – nicknamed Pie-Po by the crew – along for the ride. Hasso Sigbjörnson threatens bodily harm should Ibsen enter the engine room, and Atan Shubashi (F.G. Beckhaus) complains about Ibsen's novels, where no one lands on planets anymore, they just de- and rematerialize. I wonder if this is a reference to Star Trek's transporter, though both shows probably debuted too close together to have influenced each other.

Raumpatrouille Orion episode 6
Ibsen watches as McLane programs the computer
Raumpatrouille Orion episode 6
Weapons officer Mario de Monti (Wolfgang Völz) expresses his opnion of Ibsen in an eloquent gesture.

Only Helga Legrelle (Ursula Lillig) seems quite taken with Ibsen and flirts with him. And once security officer Tamara Jagellovsk (Eva Pflug) notices McLane's reaction, she decides to join in to make him jealous. The kiss between McLane and Tamara at the climax of episode 6 is not addressed in this episode, though the relationship between these two has noticeably shifted. General Wamsler remarks that the Orion crew believes that Tamara is a sophisticated android, but her behaviour towards McLane suggests that she is a lot more human than that.

Raumpatrouille Orion episode 6
Helga (Ursula Lillig) and Tamara (Eva Pflug) are quite taken with Ibsen. Atan (F.G. Beckhaus) is much less impressed.
Raumpatrouille Orion episode 6
McLane and Mario discuss Ibsen's impact on the ladies aboard.

Ibsen wants to pilot one of the Orion's Lancet shuttles. After all, he has completed a training class. Worse, Ibsen insists on flying alone without backup. McLane is not happy about this, but finally relents. Besides, Ibsen's flight will be controlled by a guide beam, so what could go wrong?

Raumpatrouille Orion episode 6
Ibsen tries and fails to pilot a Lancet shuttle.

Everything, it turns out. To begin with, Ibsen switches off the guide beam, insisting that he can fly the Lancet on his own, and promptly drifts off course. Worse, spatial disturbances interrupt communications between the Lancet and the Orion. Finally, Ibsen is forced to land on a barren asteroid. He tries to take off again twice, but each time, the Lancet cannot leave the asteroid's gravity field. Ibsen leaves the craft to determine what's wrong and is promptly captured by armed men.

Raumpatrouille Orion episode 6
Ibsen is taken prisoner.

Meanwhile, the Orion is desperately trying to contact Ibsen, while back on Earth, General Wamsler and Lieutenant Spring-Brauner are desperately trying to hail the Orion to satisfy the secretary of interplanetary affairs (Hans Epskamp) who is worried about his future son-in-law.

Raumpatrouille Orion
The Secretary for Interplanetary Affairs (Hans Epskamp) is worried about his wayward son-in-law.

He is absolutely right to be worried, too, for when we next see Ibsen, he is tied to a chair, being interrogated by an unseen voice and threatened with two glass bulbs emitting so-called "omicron rays" on either side of his head. The unseen voice is very interested in the Orion and her crew. Ibsen, who is not the sort of person to withstand interrogation for long, spills the beans. He is then ordered to hail the Orion, tell them that he was forced to land on the asteroid Mura and ask them to pick him up.

Space Patrol Orion episode 6
Ibsen is tortured by omicron rays.

Prison Asteroid

The Orion crew are relieved to hear that Ibsen is alive and well, but surprised that he ended up on Mura, because he was nowhere near Mura when they lost contact.

However, picking up Ibsen will pose a problem, because the only ships authorised to land on Mura are supply ships and the vessels of the Galactic Security Service GSD. Luckily, McLane has a member of the GSD on board in the form of Tamara who authorises the mission. McLane's brief conversation with Tamara not only demonstrates that McLane is still jealous of Ibsen, much to Tamara's amusement, but also gives us some additional worldbuilding details.

Mura, it turns out, is a prison asteroid, which is why it's off limits to everybody except the GSD. McLane is appalled at banishing people to a barren asteroid for the rest of their lives, whereupon Tamara replies that Mura is really quite humane. After all, they used to imprison or execute offenders, so Mura is surely an improvement. McLane asks if the inhabitants of Mura are all criminals; Tamara replies that a lot of them are malcontents and some actually used to be celebrities.

The opening narration of every episode (courtesy of veteran actor Claus Biederstedt) presents Space Patrol Orion as a utopian fairy tale from the future, but this brief conversation between Tamara and McLane adds some anti-utopian notes. For not only is the Earth government perfectly willing to let its own citizens die, as demonstrated in episode 2, and willing to launch a preemptive strike against anybody they perceive to be a threat, as seen in episode 6, they also dump malcontents, criminals and troublemakers on barren asteroids in deep space. Combined with the hints last episode that Earth suffered widespread environmental devastation, these new revelations put some wrinkles in the image of a democratic utopian future.

Unfortunately, the episode promptly undermines these hints that life on Earth and its space colonies in the year 3000 AD is not as pleasant as it has been presented so far by making the prisoners on Mura irredeemable villains. For at least the prisoners we see are no mere malcontents, but criminals and murderers.

Behind Bars

As soon as the Orion lands on Mura, they receive a call showing them Ibsen strapped to a chair and about to have his brain fried by omicron rays. The same sinister voice that interrogated Ibsen informs the Orion crew that Ibsen will be killed unless they surrender.

Ibsen is a pain in the backside and no one aboard the Orion likes him, but as McLane points out, they can't just let him die either. So the crew surrenders and is immediately surrounded by armed men and taken to the command center. The male and female crew members are locked up in separate cells, while McLane is taken to meet the leader of the prisoners.

This leader – and unsurprisingly also the owner of the sinister voice we heard before – turns out to be a man called Tourenne, a scientist who developed a devastating weapon known as paralysis rays, and decided to test it on human subjects, killing countless people. Tourenne is utterly unrepentant of the crime which got him exiled to Mura. In many ways, Tourenne is reminiscent of the Nazi scientists who conducted experiments that killed hundreds of people and were still allowed to continue their work after the war.

Raumpatrouille Orion
Tourenne (Wolfgang Büttner), leader of the prisoners on Mura

But while Tourenne may not be repentant, he is certainly furious at the Earth government that sent him to Mura. Therefore, he and his followers plan to hijack the Orion and defect to the Frogs. McLane is horrified; surely not even an archvillain like Tourenne would side with the Frogs against humanity. Tourenne, on the other hand, hates the Earth government so much that he would side with the devil himself.

The Return of Dr. Mabuse?

So far, Space Patrol Orion hasn't offered any memorable villains. The Frogs usually remain off stage and are only briefly glimpsed. She, leader of Chroma, was not a villainess but rather someone whose legitimate aims collided with those of the Earth government. Indeed, the closest thing to evil we've seen in Orion so far are unscrupulous generals like Marshall Kublai-Krim or Sir Arthur.

Raumpatrouille Orion episode 6
Tourenne interrogates McLane.

Tourenne, on the other hand, is not only memorable, but also a true villain. Played by Wolfgang Büttner with a sinister air, Tourenne is a monster who delights in inflicting pain and wants to kill the entire Orion crew. In his megalomania and sadism, Tourenne reminded me of Dr. Mabuse, the supervillain who starred in eight films between 1922 and 1964. The cinematography with its sharp black and white contrasts, which keeps Tourenne in the shadows with only part of his face visible, is reminiscent of the heyday of German expressionism in the 1920s and makes the Mabuse parallels even more notable. And considering that Dr. Mabuse is a malevolent spirit who jumps from body to body, it's quite possible that Tourenne is his latest host.

Raumpatrouille Orion episode 6
McLane is forced to watch as Ibsen is threatened with torture.

Though strapped to a chair, McLane tries to persuade Tourenne that killing him and the rest of the Orion crew would be a big mistake, because no one but the crew can fly the ship. Tourenne reveals that there are space fleet officers incarcerated on Mura, including a commander who murdered his astrogator in a fit of jealousy.

Raumpatrouille Orion
McLane is strapped into the torture chair and threatened with omicron rays.

McLane insists that technology has progressed so quickly that even a spaceship commander won't be able to make heads nor tails of the Orion's controls after a few years on Mura. Tourenne, however, isn't buying it. He threatens to murder Ibsen in front of McLane's eyes, because he certainly doesn't need a science fiction writer. Then he'll kill Tamara, who as security officer isn't required to fly the Orion either. And then Helga and so on…

Women in Prison

Meanwhile, Tamara and Helga find themselves locked up together in a cell. Both initially assumed that they were the reason the prisoners captured the Orion, since a prison asteroid will have a severe lack of women. The look on Tamara and Helga's faces at this prospect suggests that they found Robert A. Heinlein's The Moon is a Harsh Mistress as unappetising as I did. But since they haven't been sexually abused yet, Tamara notes that the prisoners appear to be more interested in the Orion than in any of her crew.

Raumpatrouille Orion 6
Locked up: Helga and Tamara on Mura

However, the chronic lack of women on Mura gives Tamara and Helga an idea. And so Tamara hides out of sight, while Helga proceeds to hail the guard on the intercom system to flirt with him and also to inform him that Tamara has escaped. When the guard enters the cell to investigate, Tamara and Helga overpower and disarm him. Thus far, the two female members of the Orion crew have often been shown at odds with each other, so it's good to see them working together. Furthermore, Helga, who has often been sidelined, gets plenty to do in this episode.

Raumpatrouille Orion episode 6
Tamara threatens a guard (Siegurd Fitzek).

Tamara and Helga force the guard to open the cell in which Hasso, Mario and Atan have been imprisoned. Together, they make their way back aboard the Orion. Hasso hails Tourenne and informs that he has overloaded the energy system. If Tourenne does not release McLane and Ibsen, Hasso will blow up the Orion and Mura along with it. There are shades of the recent Star Trek episode "The Corbomite Maneuver" in Hasso's bluff, but Hasso manages to sell it convincingly, because few people manage to put more contempt in the word "swine" than Claus Holm.

Tourenne seemingly relents and lets McLane and Ibsen go, but of course he still has an ace up his sleeve. For once the Orion tries to take off, it is pulled down to the surface of Mura again. The same thing happened to Ibsen's Lancet earlier. The prisoners have set up a magnetic dome, which absorbs any energy that is deployed to break through it.

Reaction and Counterreaction

A gloating Tourenne hails McLane and demands to be let aboard the Orion. He also informs McLane that his men took all weapons, so the crew are helpless. The crew still has the one ray gun that Tamara took from the guard she and Helga overpowered, but Tourenne forces McLane to relinquish the weapon, after he threatens to strip-search the crew, "which the ladies would find quite unpleasant".

So McLane is disarmed. He gives coded instructions to his own crew, while keeping Tourenne and his men in the dark. And because the Orion crew are so well attuned to each other, they understand just what McLane plans. Mario launches a Lancet against the magnetic dome, briefly breaking open the dome and allowing the Orion to escape. The ship is badly shaken and the crew uses the resulting confusion to take out Tourenne and his men with impressive judo skills. Helga and Tamara actually hold their own better than their male comrades.

Once all the villains are sedated, the Orion makes her way back to Earth and also calls space patrol headquarters who have been frantic to reach them. The secretary for interplanetary affairs immediately demands to talk to Ibsen, only to be informed that Ibsen got so drunk when the Orion crew celebrated their escape that he can't talk right now. The secretary is indignant and we suspect his daughter, Ibsen's fiancée, will be furious. Let's hope it's not to late to call off the wedding.

A Prison Thriller in Space

I know I'm repeating myself, but Raumpatrouille Orion really keeps getting better with every episode. If the final episode of this series manages to keep the promise set by the first six, it promises to be stellar.

Star Trek and Raumpatrouille Orion have no way of influencing each other due to airing too close together, but both shows tackle similar themes. And so Star Trek had a space prison episode with "Dagger of the Mind" some three weeks before Orion followed suit with "The Space Trap".

Though very different, both episodes managed to comment on the ethics of prisons, punishment and rehabilitation. I suspect that two different science fiction shows airing on two different continents tackling the same theme is due to the fact that in the real world, prison system still rely on facilities and procedures developed in the 19th century and are in dire need of reform.

Both Star Trek and Raumpatrouille Orion assume that the death penalty will no longer be an issue in the future (though Star Trek apparently threatened a character with the death penalty in "The Menagerie"), but then the death penalty thankfully seems to be on its way out. West Germany abolished the death penalty in 1949, though East Germany still executes people on occasion, most recently concentration camp doctor Horst Fischer who was guillotined in July of this year. In the US, many states retain the death penalty, though executions are increasingly rare. The last US execution to date was that of James French, a murderer who was eager to die and was granted his wish in August 1966. He cracked a joke about "French fries", before he was electrocuted.

Trial of Horst Fischer
Concentration camp doctor Horst Fischer, the last person executed in East Germany, at his trial earlier this year.
James French
Murderer James French, who went to the electric chair with a joke on his lips in August.

Unfortunately, Orion undercuts the criticism of the ethics of exiling criminals and troublemakers to Mura by making Tourenne not a misunderstood malcontent, but a sadistic villain. We don't learn a lot about the other prisoners; the only one whose crime is described is a murderer.

But even though "The Space Trap" misses an opportunity for social criticism, it's still an excellent episode. Let's see if the last episode of this series can uphold the high standard set by its predecessors.

Five stars

Taptoe Magazine
December 6 is St. Nicholas Day, celebrated here on the cover of the Dutch magazine taptoe.
Sinterklaas
St. Nicholas greets children during a parade through the town of Horn in the Netherlands.
St. Nicholas kindergarten
St. Nicholas visits children in a West German primary school.
St. Nicholas presents
And in the morning, many German and Dutch children will find a gift from St. Nicholas on their doorstep.
2 Comments Leave A Comment
Science Fiction/Fantasy, TV

[December 4, 1966] Riddle wrapped in an enigma (Star Trek: "The Menagerie")

10 Comments

But first, please read this brief interlude!

As you know, in addition to Galactic Journey, I also run Journey Press, devoted both to republishing classics discovered while on this trek through time, but also to publish new works of science fiction in fantasy that (I hope!) live up to the quality and tradition of the classic works we offer.

If anyone would enjoy these works, we know it will be you.  This holiday season, pick up a title or three from Journey Press!  It's the best present you can give yourself, a loved one…and us!

The Sum of its Parts


by Janice L. Newman

Back in July, a few Journeyers were lucky enough to catch a private showing of "The Cage", the first pilot of the new Star Trek series. I say ‘first’ pilot, because despite the amount of money invested in making it, it was never publicly aired on TV, which seemed a shame. Still, it’s understandable – the cast and crew of the ship are almost completely different from the actors who were finally chosen for the TV show, with only Mr. Spock appearing in the same role in both. (Majel Barett appears in both, but as different characters.)

But isn’t it a waste to spend so much and work so hard on a great episode like "The Cage" and then not use it? Desilu, the studio producing Star Trek, must have thought so. They decided to use the footage after all, but in one of the most innovative ways I’ve ever seen – appropriate for a modern, forward-thinking science fiction show.

Gene Roddenberry took the original episode and wrote a new story around it, turning into a 2-part episode that frames the "The Cage" in a way that is both compelling and fits well into the narrative and characters as they have been established in the past 10 episodes.

The story opens with the Enterprise diverted to a starbase by a false message. On the base, they meet Captain Pike: a former starship captain who was grievously wounded in a training accident. Though he saved the trainees, he himself was so badly hurt by the radiation that he is now unable to interact with the world except by moving a wheelchair forward and back and answering yes and no questions with a pulsing light. His mind, we are assured, is as active as ever, but it is trapped within a body which has been damaged beyond repair.

Spock once served under Pike, and, meeting with him in secret, behaves suspiciously. He claims that he’s made all the arrangements. From there he kidnaps Pike, uses falsified voice commands to hijack the Enterprise, and begins a race toward “Talos Four”, a planet that starfleet has declared entirely forbidden to approach or even to make contact with.

Captain Kirk pursues his ship and its apparently rogue first officer. He and the commander of the base, Commodore Mendez, deliberately leave themselves stranded without fuel, gambling that Spock will pick them up rather than leaving them to die. Like many of Kirk’s wilder ideas, it’s a gamble that pays off.

Once on the ship, Mendez demands that Spock be court-martialed. Spock pleads guilty, but for his testimony, asks to show a record of what happened thirteen years ago when Pike and his crew, including Spock, first encountered Talos Four. When Mendez points out that this can’t be a normal recording, being far too detailed, Spock declines to explain his source at first.

The record Spock shows is, of course, the original "The Cage" pilot. However, the story isn’t just played straight through, it is frequently interrupted by the people watching. In this way, the tension of the ‘present-day’ story is maintained alongside the story that happened in the ‘past’. Will Spock be found guilty and receive the death penalty? Will he be able to show the entirety of what happened? Why has he done this?

The story-within-a-story format could have been confusing and poorly-done, but instead it fits astoundingly well. Since the events aboard Pike’s ship ostensibly take place thirteen years in the past, it’s easy to excuse differences in uniforms as being a natural evolution and less polished special effects as being ‘more primitive technology’. The presence of Spock in both ties the stories together into a plausible and effective whole. The sharp contrast between the young and virile Pike from the past and the badly-burned Pike from the present is profound and disturbing.

The ending is, admittedly, a little pat. Spock’s flagrantly criminal behavior is dismissed and forgiven, and Pike gets to live the rest of his life in an illusory paradise, ‘unfettered by his physical body’. The Talosians, who were so menacing and dangerous, turn out not to be evil, and the whole thing is treated almost like a big misunderstanding. It’s all a little too easy.

Despite this, though, I was incredibly impressed by how well-integrated the two stories were. Kirk and Spock felt completely in-character. In fact, when it is revealed that the entire court martial was merely designed to keep Kirk distracted so that he couldn’t find a way to regain control of his ship, it was such an appropriate follow up to "The Corbomite Maneuver" that I wanted to applaud. Spock knows that Kirk is both clever and thinks outside the box, and that it will be impossible for Spock to anticipate his actions. Building an expectation of this into his plan showed that he understands his captain very well indeed.

This was one (or two) of my favorite episodes yet.

5 stars

A few notes


by Gideon Marcus

Having seen "The Cage" at Tricon, it was interesting seeing how it was integrated into a Trek episode, and also what was changed.  For instance, Malachi Throne played the Talosian Keeper in "The Cage".  Since he was brought on to play Commodore Mendez (a role I really liked him in), they had to alter his voice as the Talosian.  I felt this really enhanced the alienness and androgyny of the being. 

I think "The Cage" worked better on its own than stitched into The Menagerie, but on the other hand, I loved the sheer scope of the two-part episode.  Thirteen years of history, a starbase, flag officers, compelling aliens…with one story, Trek became a living universe.

A couple of things became clear after much pondering:

Vina probably has the Talosian power of illusion.  After all, the Keeper was certain that, given any contact between the races, humans would learn the power and destroy themselves.  They only had one human with which to make that assertion…

This explains the death penalty for visiting Talos — a starship going to Talos IV might very well cause the societal death of humanity.  It also explains Mendez' suspension of enforcement of the order, since in this circumstance, no harm could be done.

Favorite moment of the episode:

Spock: Mr. Hansen is now in temporary command of the Enterprise.

Hansen: (voice cracking) Sir?!

5 stars for the first part, 4 stars for the second, 4.5 stars total.

Game of the Mind


by Elijah Sauder

Being new here I'll give a little introduction. My name is Elijah Sauder and I have always enjoyed things SFnal, one of my more recent favorites being Dune. Despite my interest in the genre, I have only recently started watching Star Trek, making these episodes the 3rd and 4th ones I’ve tuned in for. I have also not seen “The Cage” pilot that some of our group has.

I felt that these episodes, perhaps unintentionally, touched on some interesting ideas regarding how important the mind is. We rely so much on our ability to perceive the world for how it is, so what happens when that ability is deceived? These episodes, particularly part 2, experiment with that very idea.

It is made very clear in the second episode that the Talosians cannot directly control what one thinks or feels; however they have the ability to alter what one perceives. For instance, instead of just causing Captain Pike pain, they made him perceive that he was in a lake of fire.

To me, this distinction was fascinating. In a way, it is the ultimate form of manipulation. I think the episode does a good job of exploring how one could escape such a manipulation, though I feel that if applied correctly, it could be near inescapable. Instead of making it seem like the blasters don’t work, why not make it seem like the blasters don’t even exist, etc. If someone can control everything you perceive, do you really have any control left? Assuming a species is intelligent enough to understand how a species thinks, they could easily keep you in a loop of you thinking you succeeded, when in reality you are still in their illusion.

We humans are exploring this concept in a limited way with Op Art or optical illusion art. It creates images that are meant to trick the brain. To take the perception we assumed is real and play with it to show us something that doesn’t exist or at least something to confuse us. Some great examples of this are done by a Hungarian/French artist, Victor Vasarely.

I quite enjoyed these episodes. Overall, I agree with the general consensus, the first episode was great and the second one was good but was less polished.

5 and 4 stars, respectively. Keep your heads on straight, Elijah out.

Frankenstein's episode


by Robin Rose Graves

Spock’s defiance in part one drove my interest in this episode. This is a man who follows rules and while not immediately apparent what his motives are, I kept watching, eager to find out. My interest waned with the flashbacks. I’ve seen these scenes before and while “the Cage” has a movie quality production, its new presentation cheapens it.

Knowing already that Vina’s appearance is yet another deception on the Talosian’s part, I successfully predicted ahead of time that the reason Spock wants to bring Pike to Talos Four is to restore the quality of his life (while mobility is accounted for by his futuristic wheelchair, he is reduced to two responses to speak with: “yes” or “no.” What a cruel existence).

Yet in “the Cage,” Pike desperately escapes the Talosian’s clutches, as they want to use humans to populate a slave race. Now, the Talosian’s motives are brushed aside, and similar to how Vina decides to stay behind in order to live without disability, Pike accepts life on Talos Four. His motives are partially understandable, given the reduced existence he was living before, but the initial conflict of “the Cage” is entirely ignored. I can’t help but think this choice comes with immense sacrifice the episode doesn’t take time to contemplate.

At the end, the audience learns that this has all been agreed upon ahead of time, including allowing passage into the previously forbidden territory – yet Kirk and the rest of the Enterprise (minus Spock) are unaware of these arrangements.

Spock’s reputation for being reliable and obedient is restored, as he was never defying orders to begin with. All tension is released without consequence.

The drama of this episode could have been entirely avoided with conversation. Was it necessary to keep Kirk in the dark? In all episodes to date, Kirk has enthusiastically helped when the opportunity to do so is placed before him. While I understand the personal connection Spock has to Pike, I’m unable to believe that should Kirk have been informed ahead of time of what was going on he wouldn’t have wanted to help. The only purpose of not telling Kirk was to create the initial drama.

Thus, this is a 3 star episode for me. I loved “the Cage,” which first kindled my interest in this series. I liked what this episode was trying to do: mixing a past plot into a present plot while utilizing the brilliantly done unused Pilot. To me, it barely works and I far prefer the original “the Cage”.

Flagrant Emotionalism


by Tam Phan (Secret Asian Man)

What a fantastic performance by Nimoy. Spock’s plan may have been thorough, calculated, and deep, but were his motivations? Not only did he need to persuade Kirk, his current captain, but he had to protect him at the same time. Spock’s cunning plan to reach Talos Four to save Pike, his former captain, was borderline emotional. Though logical in execution, in my opinion his motivations were anything but. We get to see Spock’s human half in “The Menagerie” and it gives us an opportunity to relate to the logic driven alien. We don’t get to see the internal struggle that took place before the commitment to his actions, but that would have spoiled this ending and added a third episode. Perhaps a future episode will touch on this. At any rate, Nimoy’s calm demeanor in the face of these tough decisions was only broken for a moment a couple of times. Once when the monitor went blank and he implored Kirk to continue to watch until the end, and once when he felt “insulted” by Kirk’s comment at the end. A very nice touch.

It wasn’t enough that Spock had his struggle. Kirk had no choice but to condemn his First Officer and friend to a possibility of the death penalty with a guilty verdict. The pain on his face was evident. A more subtle and welcome performance by Shatner. Not to say that Shatner can’t be subtle, but it often seems there's nothing in between that and “The Enemy Within”.

I couldn’t help but appreciate Commodore Mendez, played by Malachi Throne, as the voice of reason. His decisions were appropriate and inevitable. Kirk was torn between doing what he knew was the correct thing to do and some excuse that could save his friend. Mendez took charge which not only made it impossible for Kirk to dally any longer but forced us into Kirk’s shoes. Not knowing what I would have done in that situation was reflected in Kirk and for a moment I hated Mendez even though I knew he was right.

“The Cage” was a fantastic episode on its own. I would have preferred that it stayed that way, but I understand why it was used in “The Menagerie”. The result is still one of my favorites so far.
5 Stars


by Jessica Dickinson Goodman

Spock Scheherazades His Way To Freedom

In many versions of 1001 Nights, Scheherazade’s sister is silent. She sits beside the sheikh or sultan or king or raja, listening to the stories Scheherazade spins on her behalf. In some translations, Scheherazade is telling her never-ending stories to keep her sister from becoming their ruler’s next victim, volunteering to risk her life for someone she respects and cares for.

Scheherazade’s stories are full of frames we pass through and into, minor characters in one story becoming leads in another, before fading for the next. Spock’s deliciously kaleidoscopic story in The Menagerie often uses framed computer screens to show us different moments. He appears on our screens in our homes, only to direct us to a screen showing the past on Talos Four, wherein we see a screen that the Talosians use to view the surface. Scheherazade’s tales often involve fantasies of sex and subjugation, violence and taboo, cruelty and romance, just as the Talosian fantasies Vina spins do. Like Scheherazade, Spock is spinning out his time to save a silent comrade, entertaining his audience long enough to stave off judgement, and risking death because he believes that if he only finishes telling his stories, both he and Captain Pike will be free.

There are of course some key differences. Captain Kirk is not a cruel and capricious sheikh, though the illusory Commodore Mendez could have made a go for it. Spock is not Captain Pike’s brother, though Spock’s bond to him seems deep enough for him to risk his life, career, the crew of The Enterprise, and his relationship with Captain Kirk for. But Spock’s storytelling structure, motivation, and themes place him firmly within Scheherazade’s style.

It is hard to end a multi-layered frame narrative, because we never seem to end up exactly back where we started. At the end of most tellings of Scheherazade’s story, the ruler looks up, sees their shared children sitting around them, and agrees to stop killing virgins. We don’t see his heart change on screen. We are never given a clear reason for it. Scheherazade's sister is saved without her ever saying a word. In its way, 1001 Nights’s conclusion is as fantastical as the ending of The Menagerie, with its uncharacteristically altruistic Talosians, removal of charges for Spock, and perfect mental prosthesis for Captain Pike. But why do we read stories of the fantastic if not to be surprised and delighted by their endings?

Five stars.

Did you remember to check out Journey Press?

Here's a helpful reminder!



10 Comments Leave A Comment
Magazine, Science Fiction/Fantasy, Serial

[December 2, 1966] Mixed Bags (January 1967 IF)

2 Comments


by David Levinson

November was no more or less eventful than most months, but nothing really caught my eye. The Republicans made modest gains in the mid-term elections, California elected a so-so actor as governor and New Orleans is getting a football team in what certainly looks like recompense to Representative Hale Boggs and Senator Russell Long for shepherding the merger of the American and National Football Leagues through Congress. But there’s really nothing there to talk about. So, as with the last time this happened, let’s talk about the art.

Art matters

Regular readers of this column will know that I am often less than complimentary to the art in IF, especially the interior illustrations. There have been some changes in Fred Pohl’s stable of artists over the last year, some, but not all, for the better. John Giunta seems to have disappeared entirely, but several artists have stepped in to fill his shoes. We’re seeing a lot more from Wallace Wood and his assistant and imitator Dan Adkins, neither of whom is all that good, despite their years in the industry. On the other hand, Virgil Finlay has returned after a long absence, and he’s one of the best in the business.

We’re also seeing more of the mononymous Burns after a short absence. Unfortunately, his current style seems to combine the worst of Nodel and Giunta (and I like Giunta’s work generally). This month brings us a new artist: Vaughn Bodé. His figures are a bit cartoony, but not objectionable. I also like his landscape and VTOL aircraft. I won’t be sorry if we see more of his work.

A return to form

Something of a mixed bag in this month’s IF. A decent end to one serial and a promising start to a new one. A silly story and something experimental from established writers. Let’s take a closer look.


Just for a change, the cover actually depicts something inside. Art by Morrow

The Iron Thorn (Part 1 of 4), by Algis Budrys

Honor (pronounced “honner”) White Jackson is pursuing a bird-like Amsir across a red desert. As long as he wears his pointed metal cap and maintains line-of-sight to the Iron Thorn, he will be warm and able to breathe the thin air. If he can make his kill and bring it home, he will become a full-fledged Honor. Surprisingly, his quarry carries a metal spear (his own equipment is made largely of Amsir parts) and speaks, ordering him to yield when it thinks it has the upper hand.

On his way back, he is met by his older brother Black, who cautiously tests his reaction to the discoveries he has made. Disturbed by what he has learned, White (now Secon Black) enters the Iron Thorn for the first time and speaks with the Eld Honor, who says he may have what it takes to become Eld himself one day. Our protagonist comes to the conclusion that if he stays, he will be killed, and so, after giving a drawing of an armed Amsir to a girl he’s had his eye on, he sets out into the desert to be captured by an Amsir. He succeeds after killing the man who killed his father (making him Red Jackson) and is taken to a giant dish-shaped valley, filled with green plants and air dense enough to let the Amsir fly. There is also an Iron Thorn at its center, upright and shining, unlike the one his people call home. A vision of his people’s heaven, Ariwol. To be continued.


Honor White Jackson chases his prey, but who is hunting whom? Art by Gray Morrow

Last month, I noted that I’ve never really enjoyed Budrys’s work, but was pleased to learn that I liked his story in that issue. The streak continues. There’s an awful lot packed into these 35 or so pages, but it mostly works. The exposition, in particular, is a masterpiece of “show, don’t tell”. Parts of it are a bit rushed; the protagonist goes through three names (and has a secret fourth, Jim), and his decision that his life is in danger seemed precipitous. Maybe that will be fleshed out more if this appears as a novel. It’s a good start, though, and I look forward to more.

A solid three stars.

A Hair Perhaps, by J. F. Bone

Major William Bruce has arrived at the remote, top secret tracking station where he will spend the next two weeks all alone. When he is kidnapped, along with his living quarters, by aliens who plan to use him as their first test subject to determine if humans are worth enslaving, he has to find a way to defeat them with the limited tools at hand.


Two examples of Bodé’s art I mentioned earlier. I like the first one, but the figures need a little work, especially the human. Art by Vaughn Bodé

It’s been a few years since we saw anything from Bone. Unfortunately, like his last offering, this one is a stinker. Not as bad as “For Service Rendered”, but not up to his usual quality by a long shot. Bruce is thoroughly unpleasant (and explicitly stated to be so in the text), and the whole story is in service of a weak punchline.

Two stars.

– Still More Fandoms, by Lin Carter

Our Man in Fandom picks up where he left off and gives us some more fandoms that appeal to many science fiction fans. He starts off with one of the biggest groups, the Baker Street Irregulars, devoted to Sherlock Holmes, moves on to a couple of fellows in Missouri who are trying to start a fan group dedicated to James Branch Cabell, and on to the well-established Oz fandom. He finishes up with a look at the somewhat fragmented comics fan groups. Contact information is provided for the Cabell group and a couple of comics groups.

Three stars.

The Scared Starship, by D. M. Melton

Mars has been divided between the western and Sino-Sov blocs, with some neutral territory where finds must be shared. Rainbow Smith tells us how the group he was exploring with found a dead alien and a starship. The captain and the geologist rescue the find from the machinations of the evil Mao Lee, but it’s computer specialist Margot Harris who figures out how to get to the starship and win it over for the “good guys”.


Brains and beauty, but I don’t know how she gets all that hair in her helmet. Art by Nodel

Melton’s biggest problem thus far has been the handling of female characters. That’s largely corrected here, though there is one passage that feels more like “how men think women think”. Unfortunately, we have a nasty bit of Yellow Peril storytelling in the vicious Mao Lee (and an accompanying picture by Nodel). The whole Cold War tension subplot could have been dropped, leaving a decent problem story.

A low three stars.

By the Seawall, by Robert Silverberg

A great stone wall, sixty meters high and twenty meters thick, extends six thousand kilometers along the Eastern seaboard to protect humanity from the monsters which have risen from the sea. Micha-IV is an artificial person whose job is to patrol a one kilometer section of the wall, triggering additional defenses against monsters that scale the wall, reporting damage and also conducting tours. Suddenly, people have begun jumping off the wall, with or without a parachute; suicide either way. Micha-IV struggles to understand.

This can best be summed up as Robert Silverberg writes a J. G. Ballard story. How you feel about both those writers will probably determine how you feel about the story. I like Silverberg and don’t care for Ballard, but I can see that others might enjoy this.

Three stars.

On the Shallow Seas, by Robert Mason

Lant is a convict on the prison world of Exonam. Prisoners spend their days harvesting golden oysters. Fail to meet your quota of meat and you don’t eat, but find a rare gold pearl and you’ll be pardoned.


The “oysters” aren’t much like Earth shellfish. Art by Burns

Mason is this month’s new author. There’s enough here that shows promise. Line by line, the writing is good, though we’re treated to almost every prison story cliche there is. My biggest problem is the use of gold as the plot's linchpin. There’s no real reason for it to be that valuable. Mason would have been better served by using something much scarcer or making up his own element or alloy.

A low three stars.

The Impersonators, by C. C. MacApp

Inspector Kruger of the Interstellar Division has been sent to the planet Phrodd to arrest the embezzler Borogrove O’Larch. It’s diplomatically sensitive, because Phrodd is an alien world, so Kruger will have to step carefully. The locals are also perfect mimics, and O’Larch has hired a lot of them to pretend to be him. Kruger is soon at his wits’ end.

I usually groan when I see MacApp’s name and breathe a small sigh of relief when I see it’s not a Gree story. I sighed too soon. MacApp does not have a hand for humor. Laumer or Goulart could have had moderate success with this, but the story here is just plain bad.

Two stars.

Snow White and the Giants (Part 4 of 4), by J. T. McIntosh

A group of strange young people have come from the future to witness the Great Fire of Shuteley. They also have an interest in Val Mathers and his cousin Jota. Now trapped in the heart of the fire storm in a protective dome set to disappear at dawn, Miranda guides Val through his memories of Jota to help him understand what they hope to do. All his life, two things have been true for Jota: people who got in his way died, and he could have any woman he wanted.

In Miranda’s day, some three percent of people have the Gift, and they’re making society ungovernable. The much smaller percentage who are immune aren’t enough to stop them. Miranda and her team have come to the past to save Jota’s life in the hope that will eliminate the Gift, but they’ve failed. However, by convincing Val that he can have children without them turning out mentally handicapped like his younger sister, Miranda has accidentally succeeded. Now, Val and his sister just need to survive the collapse of the dome. Can Miranda meet the price he demands?


Val and Greg fight for the future. Art by Gaughan

And so McIntosh brings everything to a reasonably satisfying conclusion. There’s a small flaw in the plot, in that Jota has no children and so his death ought to have eliminated the Gift. But there’s a bite in the final paragraph that more than compensates for any weaknesses elsewhere.

Three stars for this installment and for the novel as a whole.

Summing up

After last month’s excellent outing, this issue is something of a return to form. The serials are the main reason to read the magazine, and the stuff in between is average at best. Next month we have the continuation of the Budrys novel, which is promising, as is a new Niven tale. A new Retief could go either way. But the March issue will have a contribution from every winner of a professional Hugo at TriCon: Asimov, Ellison, Herbert and Zelazny, plus a cover by Frazetta. So we’ve got that to look forward to.




2 Comments Leave A Comment
Magazine, Science Fiction/Fantasy, Serial

[November 30, 1966] Marking time (December 1966 Analog)

4 Comments

But first, please read this brief interlude!

As you know, in addition to Galactic Journey, I also run Journey Press, devoted both to republishing classics discovered while on this trek through time, but also to publish new works of science fiction in fantasy that (I hope!) live up to the quality and tradition of the classic works we offer.

If anyone would enjoy these works, we know it will be you.  This holiday season, pick up a title or three from Journey Press!  It's the best present you can give yourself, a loved one…and us!


by Gideon Marcus

Bogged down

With more than half a million American troops in Vietnam now, the South Vietnamese are starting to feel like they're living under occupation.  There's no doubt who's calling the shots these days.  The question is, is this surge of military force going to be enough to drag Ho Chi Minh to the bargaining table?

Despite the flow of optimistic figures from the Pentagon, it doesn't look like peace or even peace overtures will happen any time soon.  The closest we've gotten is securing a pair of holiday ceasefires.  So, expect a long slog and nightly death counts on the evening news for the forseeable future.  Better dead than Red, right?


American soldiers enjoy a Thanksgiving respite before heading off to combat again.  They may end up taking as long getting to Hanoi as it's taking Saunders and Kelly to get to Berlin.

In the trenches

Meanwhile, the December 1966 Analog constitutes a landmark of sorts — it's the last magazine of the year!  And, like Vietnam, it's often been a tedious, dragging affair.  This month is no different, though the magazine starts better than it ends.  Let's get our report from the front, shall we?

A quick note on the inside cover this month.  Yes, the one editor whose editorials I skip every month has bundled his loony screeds together and is offering them in book form. Or as Tom Lehrer put it:

Now there's a charge for what she used to give for free…

He even got Harry Harrison to shill for him.  I have to disagree with Harrison, though: while Campbell indeed may be "idiosyncratic, prejudiced, and annoying", he also is usually quite boring.

Don't fail to miss!

Amazon Planet (Part 1 of 3), by Mack Reynolds


by Kelly Freas

Mack Reynolds once again sets a tale in his loosely knit United Planets.  Humanity has sprawled across hundreds of stars, and one of the primary tenets of this community is that each colony expresses itself as it likes so long as it harms no other world.

As might be deduced from the title, this latest novel features a matriarchy planet, one where the "traditional" (read mid-20th Century) gender roles are reversed.  Well, not so much features, as this first third of the novel takes place not on "Amazonia", but on a freighter headed toward it.  There are only two passengers: Terran Guy Thomas, a deceptively mild trader with plans to open Amazonia up to the niobium trade, and Patricia O' Gara, refugee from the exceedingly puritanical colony of Victoria.

There's not a lot of action in this section.  Mostly crew mates talking about how terribly men are treated on Amazonia, Pat (and later a troop of Amazons) explaining how they're wrong, and Guy acting as something of a catalyst for discussion.  It's all rendered rather broadly, but simply the fact that this subject is even being discussed, and a matriarchy is not being played for laughs, is interesting.

I'm waiting to see where it goes; this could be an awful, sexist piece or it could be an enlightened one.  Only time will tell (though Reynolds has a good track record on this front).

Three stars.

The Weathermakers, by Ben Bova


by Leo Summers

Hurricane season is hotting up, and it's up to Ted, Jerry, Tuli, and Barney (the last a woman) of Project THUNDER to ensure none of these storms hits the Atlantic seaboard.  To accomplish this, they'll use cloud seeding planes and orbital lasers to increase the equilibrium of the systems, smoothing them out before they become rotating furies.

But when these methods prove insufficient, only true weather control on a national scale can save Washington D.C. from a devastating cyclone.

The Weathermakers is actually an excerpt from an upcoming novel, presumably the climax.  It's exciting enough, and the technology is interesting, although I have to wonder if pumping extra heat energy into the Earth's atmosphere isn't ultimately a dangerous thing.

It's all a bit gung ho and simplistic, more what I'd expect from a juvenile.  This is not a bad thing, of course.  We can use more juvenile authors of merit.

Four stars.

Cytoplasmic Inheritance , by Carl A. Larson

The nonfiction article this issue is an extremely abstruse, but not unreadable, piece on the role the cytoplasm plays in genetics.  Apparently, it's not all governed by DNA in the nucleus.

Biology's not my bag, and a lot of it went over my head, but I did read it and found interest in it.

Three stars.

The Blue-Penciled Throop, by L. Edey

It's all downhill from here.  First, we've got another in the epistolary Throop series, basically an excuse for Campbell to tell us how hard his job is as editor having to deal with a bunch of nincompoops.

Two stars.

The Price of Simeryl, by Kris Neville


by Leo Summers

The colony of Elanth has got itself in a bind.  The local government bought too much of the addictive Simeryl drug to pacify the indigenous Elanthians, who both are having trouble meeting their farm quotas and are spending too much time fighting the Coelanths, a vicious species that has enjoyed a recent resurgence.  Third Foreign Secretary Raleigh is sent to the planet to fact-find pending a solution.

Wow, that didn't take me long to write at all.  The story, on the other hand, is presented as a set of interminable interviews with various government officials, none of them pleasant or particularly distinctive from each other.  And in the end, there is no revelation.  The story is perhaps five times longer than it needs to be.  Even at its best, it's pointless.

Also, I'm getting a little tired of putative future governments with nary a woman to be found in them.  From Ann Rosenberg Hoffman to Margaret Chase Smith to Indira Gandhi, we've had many prominent female lawmakers and cabinet leaders.  It's time to feature women in our science fiction at least to the degree they are represented on 1966 Earth, and not just in extreme cases as depicted in the Reynolds this month.

One star.

Under the Dragon's Tail, by Philip Latham


by Leo Summers

Finally, "Philip Latham" (Dr. Robert S. Richardson, who writes great nonfiction), turns in a piece that's basically the day-to-day dreariness of an assistant planetarium manager.  That an asteroid is going to smack down in Griffith Park at the end is a mostly extraneous detail.

Two stars.

Looking Back

Well, that wasn't very good, was it?  Indeed, Analog sets a record of sorts: at 2.5 stars, it is the worst magazine of the month.  Slightly better, though still dismal, was Fantasy and Science Fiction (2.6).  Amazingly enough, Amazing beat out both of them with 2.9 stars.

Above the mediocrity line lie siblings Galaxy (3.1) and IF (3.2) The British mags top out the list with Impulse at 3.3 and New Worlds at a whopping 3.6!

There was exactly one story by a woman this month.  I had thought '66 would be better than '65 in this regard, but no dice.  To paraphrase Mrs. Rosenberg Hoffman, Assistant Defense Secretary under Truman, science fiction without women is an industry half-idle.  I hope things get better soon.

I guess we'll continue to mark time until then…

Did you remember to check out Journey Press?

Here's a helpful reminder!



4 Comments Leave A Comment
Fashion, music, politics, sports

[November 28, 1966] Truman Capote's Ink and Paper Cinderella (a party to end all parties)

Leave a comment


by Gwyn Conaway

Truman Capote has thrown a party and it might just be the talk of the century!


Truman Capote grew up in Alabama during the Great Depression and strived for a life of luxury and fame. When he finally found acclaim, it became apparent very soon after that he had the personality and audacity to fit the high society bill.

This rising star of American literature published In Cold Blood, his first widely acclaimed piece of work, with Random House Publishing earlier this year. Though the “nonfiction novel” propelled the small-town Alabamian onto international bestseller lists and the critic’s chopping block, securing both his notoriety and fortune alike, it’s this week's "Black and White Ball" that has bestowed him with the mantle of high society.


Oscar de la Renta and Françoise de Langlade wearing cat masks at the Black and White Ball, held in the Grand Ballroom of the Plaza Hotel, November 28th, 1966.

In fact, there hasn’t been quite this sort of mystery surrounding an invitation since Paul Poiret’s A Thousand and Second Night in 1911. Capote has, perhaps, received inspiration from the late French fashion designer in taking painstaking care to design his guest list and requiring a strict dress code for the spectacle of the soiree. While Poiret’s guests wore harem pants, lampshade dresses, and turbans inspired by the Ballets Russes’ Schéhérazade, Capote’s were instructed to wear masks, black, and white.


An illustration of Denise Poiret by George le Pape at One Thousand and Second Night, the infamous party at Chez Poiret. If guests arrived without something to wear, they were given something or politely turned away. The shapes and adornment of Poiret's fashions strike a chord with us today, and can be seen at Capote's ball as well.

Of course, Capote couldn’t throw such a lavish affair for himself; that would be in very poor taste, after all. All summer, he sat by literary agent and editor Eleanor Friede’s poolside, considering his guests. He carried his book with him all through the fall, crossing names off, adding new ones, taking notes. His little book became a subject of great curiosity, and so did the guest of honor. Most of us believed he’d choose one of his “swans”, the beautiful women he cavorts with these days, so imagine my surprise when he chose Katharine Graham, publisher of the Washington Post.


Katharine Graham, the guest of honor, and Capote in attendance at the Black and White Ball. Pictured to the right is her mask, designed by famous American designer Halston.

Katharine Graham has hinted that she felt more like a prop for Capote’s whims than a guest of honor, but the baffled newspaper president accepted his invitation. The evening has revitalized her social standing and thrust one of the most important women in America back into the spotlight. Graham took over the capital’s most important daily publication after the unfortunate suicide of her late husband, Phillip Graham in 1963. Since then, she’s faced a tumultuous fight for recognition in a world in which men have dominated since the dawn of the periodical. Choosing Graham was ingenious. Although her influence and power reaches far and wide, she lives deep within her work and has rarely surfaced to socialize since the death of her husband. As a result, the queen of the press became Capote’s Cinderella, and the linchpin of the party’s success.

To be fair, the rest of the guest list didn’t disappoint the gossipers either. In fact, it put the party squarely at the top of this century’s list of places to be and people to see. Though the likes of first daughter Lynda Bird Johnson, Frank Sinatra, Gloria Vanderbilt, and the Duke and Duchess of Windsor were among the socialites grooving until four in the morning, it wasn’t necessarily the star power that made this party so thrilling. The hotel doorman, Andy Warhol, and a few residents of little Holcomb, Kansas, where he did research for In Cold Blood, were also invited. It’s true that high society parties like this are usually a strict in-crowd affair, but at the Black and White Ball, the more than five hundred guests were rubbing shoulders with people they never would have met otherwise. This cross-pollination of economics, politics, and culture is perhaps the last we’ll see for quite some time.


Notably, Capote’s critics were not invited to the ball. Kenneth Tynan of The Observer, for example. He vehemently criticized In Cold Blood and accused Capote of hoping both killers, Richard Hicock and Perry Smith, would be executed for the real massacre behind the novel so the ending would be more cathartic. Capote's infamous notebook is displayed on the right.

The party itself was a carefully designed spectacle. Although gloves have gone out of fashion in recent years, thanks to the dissipation of social modesty caused by the Beatnik and Mod movements, department stores and glovers ran a shortage this month in preparation for the big day. Milliners also faced a heavy burden, filling orders for fantastical masks and surreal headwear. And while the preparations for the ball were hectic all across New York City, the parade of costumes was just as eclectic and exhilarating. Capote proclaimed he was inspired by the Ascot scene in My Fair Lady and his guests took this to heart.


My Fair Lady came out in 1964. It was directed by George Cukor and starred Audrey Hepburn and Rex Harrison. The Ascot scene has proven to be a major influence in the fashion world, and will likely continue to be referenced for decades to come. Bravo to costume designer Cecil Beaton for his lasting legacy!




Top: Princess Lee Radziwell, sister to former First Lady Jackie Kennedy, shows off her couture treasures to the adoring press; Middle: Andy Warhol, cult pop artist; Bottom: Guests who built their own masks out of papier-mâché and paint. The range of who's who at this party was enormous! Wildly different politics and economics. Who could have guessed we'd see these faces at the same party?

Maybe Truman Capote really did throw the Black and White Ball as a frivolous exercise in his newfound fame and wealth, but I see a gathering on the cusp of great division with far more significance. Although the theme was meant to inspire a sort of graphic elegance in the song-and-dance of high society entertainment, Capote’s guests betray a social experiment at the heart of his event. What with the rise of the Civil Rights Movement, Vietnam War protests, the Women's Movement, and so much more, could Capote be signaling to the Old Guard that the world is changing? Considering he chose to honor Katharine Graham, after months of reflection, and dressed the entire event in the colors of ink and paper, I simply can’t imagine this was all a convenient happenstance.

In truth, we often belittle the significance of spectacles like these until they are a distant memory, blinded by the wealth in attendance and whether or not the champagne was chilled or the dancing rowdy. Perhaps we suffer from jealousy in wishing we had been there ourselves, that we had walked the red carpet parade and smiled for the tabloids. Though I suffer from the same afflictions, of course, I still must ask myself: when is a party no longer just a party?

The Black and White Ball is on the wobbly edge, in my opinion. Was Capote simply bold in throwing aside the social conventions of like rubbing shoulders with like? Or did he adorn a politically charged event in the trappings of an extravaganza? Regardless of the answer, or maybe because there doesn’t seem to be one, he managed to pull off the party of the century.

[And while it might not quite rival Capote's party, the permanent floating event in Portal 55, Galactic Journey's real-time lounge, is always jumping!  Talk about your favorite SFF, chat with the Traveler and co., relax, sit a spell…]




No comments Leave A Comment
Magazine, Science Fiction/Fantasy, Serial

[November 26, 1966] White Boats, Whales and Disch, New Worlds and SF Impulse, December 1966

5 Comments


by Mark Yon

Scenes from England

Hello again!

In a follow-on from last month’s comments, the rumours of falling sales on both Brit magazines seem to be holding water. This is worrying, especially when both magazines seem to be on a roll, but the one I like most is the lesser-selling of the two. New Worlds definitely presses buttons, but SF Impulse is the one I remember most.

More news as I get it.

Let’s start with New Worlds.

Mike Moorcock’s Editorial this month begins with the sad bit of news that Cordwainer Smith has died and then goes onto write of an aborted attempt to celebrate the centenary of H. G. Wells’ birth.

It is perhaps the last part that may be of interest to regular readers, as Mike (or is it Assistant Editor Langdon Jones?) lets slip some of the findings of the latest New Worlds reader’s survey. Unsurprisingly, the results reflect the changing state of the genre, something that regular readers will not be unaware of.

To the stories!

Echo Round His Bones (Part 1 of 2), by Thomas M Disch

Mr. Disch is everywhere in the Brit magazines at the moment. This month, for example, we have a serial novel and an interview from him over in SF Impulse (more later.) We’ve had poetry, horror stories, science fiction stories, funny stories and weird stories, all in the last six months or so. And here we have the first part of a novel, which takes up almost half of the issue.


Illustration by James Cawthorn

The story is one that uses a lot of science fictional cliches but blends them up into a modern tale. In the near future scientist Panofsky has invented an instantaneous matter transmitter (Star Trek fans, take note.) Captain Nathan Hansard is a United States officer who is transferred with his platoon from Camp Jackson Pensylvania base to Camp Jackson Mars via the transmitter known as The Steel Womb. However, there is an unfortunate side effect. Hansard discovers that whilst being transferred he becomes left in limbo in some sort of in-between realm. As a result, although he is still on Earth, he is like a ghost in that he can walk through walls but cannot communicate easily with people in the ‘normal’ world.

As if that wasn’t strange enough, he also finds out that there are others stranded in this space who can interact with him normally. This is not always good, nor easy – Hansard finds himself pursued by his own soldiers, for example. Much of the middle section of this part of the story is about how Hansard comes to terms with his new environment and survives. He visits his ex-wife and son, only to find that he has become a voyeur and cannot communicate with them. He also has dreams of himself being a soldier and being involved in horrible acts in an unnamed place which looks and sounds like China.

At this point Hansard is rescued by Bridgetta, who we then discover is the wife of Panofsky, the inventor of the transmitter.

It’s a little wobbly to start with. Hansard does not come across well in the first couple of chapters — arrogant and generally unpleasant, which is not an ideal start of a character described as “a hero”. There’s also the odd major dollop of exposition in a tell-not-show kind of way. However, once the plot settles, it is exciting and memorable, shocking and interesting. The fact that there were points where I honestly couldn’t tell where this one was going makes this a good thing. 4 out of 5.

Conjugation, by Chris Priest

We’ve met Chris here before, in the May 1966 issue of Impulse with The Run. This one is different, attempting to be like Ballard’s recent work, cut up into initially disparate sections: a newspaper report, part of a speech for the President, a transcript of a videotape, an entry in an emergency-log and so on, with the verbiage kept to a minimum. Its plot is typically unclear, more an exercise in style but seems to be about an astronaut involved in an accident which seems to involve some sort of implosion. Whilst I liked the fact that the writer is trying to push the genre envelope a little, it didn’t really work for me. In the end no one does this sort of thing like Ballard. 3 out of 5.

The White Boat , by Keith Roberts

Now this was a surprise. This is a Pavane story, a series recently published in Science Fantasy, and to all intents and purposes finished. Admittedly, it was very well regarded and not just by me.

This one is a smaller vignette piece, focussed on a young teenage lobster fisherman named Becky. One night she sees a White Boat out at sea. She becomes obsessed with it and on its return ends up on it. The boat is a smuggler boat, bringing forbidden technology from France to England. Becky is returned to where she lives, to watch as the boat is shot at by soldiers of the Pope.

There’s a lot of the usual Roberts-in-more-serious-mood touches, which I liked, and even some odd vaguely sexual ones, which felt a little out of place. To be honest, the link to the world of Pavane is minimal, but there are connections if you know what to look for to connect this story to the rest.

So why is this coda piece being published in New Worlds? I’m not really sure, but with Roberts acting as Managing Editor, artist and teller of Anita stories (see later) in SF Impulse, perhaps another Roberts story there this month would have been just too much.

I liked it but did not come away quite as impressed as I was with the other stories in the series. 3 out of 5.

Lost Ground, by David Masson

How often have you heard about the weather being oppressive, moody or unsettling? In this story David makes “mood-weather” a reality in the future, where the weather does affect people’s moods, something which future generations pop pills like crazy to alleviate.

It’s good to see the return of an author who made such an impact with his first story published last year, even if more recent tales have been less impressive. However, this one I liked, perhaps because it deals with that most British of conversation topics!


Illustration by James Cawthorn

The rest of the story though does not quite live up its potential. TV reporter Roydon Greenback goes to find his wife Miriel lost in a time-storm, which leads to him being sixty-one years in the future from his original point. It doesn’t end well. Nothing especially wrong with this, it is just a bit predictable.

This one’s more like The Transfinite Choice (New Worlds, June 1966) than Traveller’s Rest (New Worlds, September 1965.) in that it has interesting ideas but not always used well. It does however introduce new words that could be scientific or just made up – chronismologists and poikilochronism, for example. Again, not his best work but far from his worst. 4 out of 5.

The Total Experience Kick, by Charles Platt


Illustration by Unknown Artist

The latest from Platt goes back to the land of The Failures (New Worlds, January 1966), which was all pop-culture and alternative lifestyle drug culture. Our hero is an industrial spy whose Total Experience machine can be used to intensify emotions through music. He is sent to infiltrate the opposition and see their latest development, with a girl involved to complicate things. It’s fun but a bit predictable, rather like rather Jerry Cornelius meets The Beatles, based around some sort of Heath Robinson contraption. I’m assuming that this story may be the inspiration for the cover picture this month. 3 out of 5.

Tomorrow is a Million Years, by J. G. Ballard

Illustration by Unknown Artist

The latest from Mr Ballard is a reprint (see Argosy, October) and also due out as part of a collection soon, I gather. Glanville and his wife Judith are able to travel time and space. They go to the fictional ship Pequod and see Ahab and his crew and talk of Glanville being The Flying Dutchman before the story turns into one of revenge. Still dark and moody but a surprisingly straightforward tale from J. G. It makes me think that this was written a while ago – it is more reminiscent of his Vermillion Sands story collection than more recent work like The Terminal Beach. 4 out of 5.

Book Reviews

This month Hilary Bailey covers a lot of books. This includes Roger Zelazny’s This immortal, Shoot at the Moon by William F. Temple, Make Room! Make Room! by Harry Harrison, Mandrake by Susan Cooper, Damon Knight’s The Other Foot, Sybil Sue Blue by Rosel George Brown, Shepheard Mead’s provocatorily-titled The Carefully Considered Rape of the World, Digits and Dastards by Frederik Pohl and The Fiery Flower by Paul I Wellman. Mike Moorcock also reviews and lists some, very briefly.

No Letters pages again this month.

Summing up New Worlds

Lots of returning authors this month. The Disch is the standout for me, although not perfect, whilst the rest are good but not great overall.

The Second Issue At Hand


And now to SF Impulse. The cover pushes the artwork to one side this month to herald the writers and point out that there is a new Editor-in-Chief, if you didn’t know.

The Editorial is mainly Harry’s version of what happened at the Trieste Film Festival, which Francesco Blamonti reported on last month. In short, the Italians are very enthusiastic about their sf, perhaps more so than us undemonstrative Brits. Does read a little bit like an essay entitled “What me and Arthur C Clarke did on our holidays.”

Inside Out by Kenneth Bulmer and Richard Wilson

The first story this month is co-written by a duo with a long pedigree here in Britain. Ken Bulmer is a prolific author who has been published since the 1950s, but whom you might not know in the US, and Richard Wilson similarly but since the 1940s. As you might expect then this is a straightforward SF tale of the “old-school” variety.

Petty crook Duke Walsh steals a metal box full of money from an alien here on Earth in secret. The box however is not just a storage box, but a replicator, which can replicate almost anything you want. However, Duke, not realising what the box is, takes the money and throws the box away. Short yet memorable. 3 out of 5.

Three Points on the Demographic Curve by Thomas M. Disch

A story from the seemingly ever-present at the moment Mr. Disch. In the overcrowded future of 2440 (I can see why Harry likes this!), Darien Milkthirst (great name!), Investigator, is given the task of finding 56 470 kidnapped children. The kidnapper, Prosper Ashfield, appears and tells Darien that he is from the future. As the Last Man on Earth he is collecting children to repopulate the future Earth. However, the children are indolent and look upon Prosper’s robot companions as their natural superiors. Frustrated, Ashfield begins to select children from throughout history to try and redress the issue. He then goes into deep-freeze to allow the robots to continue their work.

It’s all told in the jaunty manner that the story banner describes as “wry humour”. More good stuff from Mr Disch, that reminds me a little of Robert Sheckley – not a bad thing. 4 out of 5.

The Familiar by Keith Roberts

Illustration by Keith Roberts-  the author!

Another Anita the teenage witch story! Well, not quite, as the focus this time is upon Granny Thompson’s cat. I said that Anita’s last story felt like it was the series coming to an end and this story almost proves it. Anita is a popular character, but I think Keith is starting to scrape the bottom of the barrel with this one. Nevertheless, this is very different to Keith’s other offering in New Worlds this month. As ever with the Anita stories, The Familiar is fun and not to be taken too seriously, but not the strongest Anita story I’ve read. 3 out of 5.

Hell Revisited: An Interview with Kingsley Amis by Thomas M. Disch

Kingsley Amis is a respected author and commentator here in Britain. Harrison in his Editorial describes him as a “friendly critic”, and I would say that this is fair. His book New Maps in Hell has been seen as a critical work in recent years, extolling the virtues of sf to critics who would otherwise sneer at it.

With this in mind then, Disch’s interview is rather revelatory. Amis decries the recent writings of New Wave authors, claiming that to meet mass appeal it has lost some of its key characteristics. All of the authors hallowed in New Maps – Clarke, Pohl, Sheckley and Blish – are now criticised and of the new crowd, Messrs Aldiss, Budrys and Ballard have all disappointed. Even “run-of-the-mill science fiction is even more run-of-the-mill than it used to be”. All of this sounds a bit grumpy, yet Amis puts his points across amiably and logically. Kurt Vonnegut and Anthony Burgess come out of this well. Interesting and thought provoking.

The Real Thing by Eric C. Williams

Another returning author, last seen in Science Fantasy (whatever happened to that ?) back in August 1965. A story of what happens when Holt Mannering hires the spaceship Magpie and her crew for a day to get research for his next book. This involves getting as much realism as possible, which makes the trip rather dangerous. All written in a light-hearted manner – Heinlein it ain’t! 3 out of 5.

The Plot Sickens by Brian W. Aldiss

If the last story was amusing, this one is a lot more fun! In typical Aldiss manner, Brian takes the conceit begun by George Hay in his Synopsis story in Impulse 4 (June 1966) of writing reviews for imaginary science fiction novels and then spoofs it up even more. For example:

Beware the effect of an unbridled Aldiss! Makes its point whilst not savaging the genre, and a nice counterpoint to the Amis interview. Made me grin a lot. 4 out of 5.

The Ice Schooner (part 2 of 3) by Michael Moorcock

Illustration by James Cawthorn

The first part of this story I described last month as a “post-apocalyptic Norse fantasy” introduced us to Konrad Arflane in a future Earth covered in ice. There a man Konrad rescued, Pyotr Rorsefne of Friesgalt, had said that he would like Konrad to take his ship, the Ice Maiden, and sail to the North to find the legendary New York and there the mystical Ice Mother.

The second part this month deals with the exciting but gruesome hunting of whales, and is straight out of Moby Dick. Before the journey North, Konrad has agreed to take Pyotr’s daughter Ulrica (who Konrad fancies), her arrogant husband Janek Ulsenn, and Ulrica’s cousin Manfred whale hunting, along with the legendary harpoonist Long Lance Urquart.

However, the crew of the vessel are inexperienced in whale hunting and the ship is destroyed. Manfred rescues Ulrica but Manfred receives a broken arm and Janek’s legs are broken. Arflane finds himself more and more attracted to Ulrica. Despite her being married and Konrad being warned off by both Janek and Manfred they begin an affair.

The group return to find Pyotr has died. There is a funeral. The will splits the estate between Ulrica and Manfred, with Konrad receiving the command of the Ice Spirit. If he takes on the journey to find New York, the ship and any cargo become his. It is a further condition that Ulrica and Manfred go with Arflane on this quest. Urquart goes too.

With the journey begun, the relationships between the group are strained. After Ulrica’s initial enthusiasm, she now acts coolly towards Konrad. In return, Arflame is moody as a result of Ulrica’s rebuttal. Such taciturn emotions to those around him lead the crew to begin to rumour that Konrad brings a curse with him. There are enormous difficulties faced on their journey, and the story ends as the ship encounters an ice break.

So, lots of excitement. The pace of the first part is maintained this time around. The whale hunt is particularly gruesome, although that is to be expected. Generally, this second part is nearly as good as the first, although there is a dreadfully done sex scene and an utterly convenient plot point that takes the story down a notch. At one point, it all becomes rather like a science fiction version of Lady Chatterley’s Lover, which may be intentional.

Despite this, the story is intriguing and I still like the setting. 3 out of 5.

The Voice of the CWACC by Harry Harrison

Although this is the first time the CWACC have appeared here, there have been previous stories in this series (last seen in the June 1966 issue of Analog – traveller Marcus really didn't like it.) Personally, I am always a little dubious of editors publishing their own work in their magazine – it either displays a great deal of confidence in their own worth or conveniently fills up a gap, neither of which usually bode well. I’m not quite sure which this shows!

It’s a slight tale, meant to be amusing, of scientists (the CWACC) with a new invention – an aircraft recognition system to be used for ground defence. Because of the “highly secret, unpatented, incredibly artful components” it has, it is very successful. The new twist is that the machine is worked internally by a rat – take that, Daniel Keyes! Not bad – energetically silly and fairly forgettable. And no, I still don't know what CWACC stands for! 3 out of 5.

No Letters to the Editor this month.

Summing up SF Impulse

I like the Moorcock, even if it is not quite as good as the part last month. Disch impresses (again) and both the Anita story and Aldiss’s story made me laugh – not easy to do.

Summing up overall

New Worlds is a solid issue from regular writers. SF Impulse impresses more with its stories. Disch or Moorcock? Aldiss or Harrison? Keith Roberts or… Keith Roberts? Hmm. Both issues are good, but I’m going with the SF Impulse (again) this month.

Someone say "Christmas?" All the compliments of the season to you.

Until the next (forward, 1967!)…



5 Comments Leave A Comment
Magazine, Science Fiction/Fantasy, Serial

[November 24, 1966] Middling (December 1966 Amazing)

1 Comment


by John Boston

Better Red than . . . ?

The December Amazing, all business, with the editorial and letter column seemingly dropped permanently , makes a nice-looking package, with a cover by Frank R. Paul shamelessly dominated by near-fire engine red.  It’s taken from the back cover of the January 1942 Amazing, where it was titled “Glass City of Europa.” The caption there says "Transparent and opaque plastics make this a wonder city of ersatz science.  Transportation is by means of giant, domesticated insects." 


by Frank R. Paul

Interestingly, this cover is not only cropped from the original, as is usual, but altered: someone has airbrushed Jupiter from the upper left-hand corner!  There’s nothing in its place but more red.  Now that’s editing!  Of a sort.

Born Under Mars (Part 1 of 2), by John Brunner

The featured fiction on the cover is the beginning of John Brunner’s two-part serial Born Under Mars.  As usual I will withhold comment (and reading) until both parts are available.  A quick inspection suggests that this one represents Brunner the capable post-pulp storyteller and not the author in his highly variable philosophical mode, the poles represented by his worthy The Whole Man and his unfortunate mess The Bridge to Azrael.


by Gray Morrow

Vanguard of the Lost, by John D. Macdonald

John D. Macdonald is best known for crime fiction—a lot of it.  Since 1950 he has published 40-odd crime novels, most if not all original paperbacks.  His current project is a series of novels about a private eye named Travis McGee—eight of them in three years.  In all this criminous fecundity it’s easily forgotten that Macdonald was once an up-and-coming SF writer, and pretty prolific at that too.  From 1948 to 1952 he published almost 50 stories in the SF magazines, in addition to a number in the borderline-SF pulp Doc Savage, all the while maniacially generating crime stories as well.  He used multiple pseudonyms and sometimes had multiple stories in the same magazine issue.  In his spare time he cranked out two decently-received SF novels, Wine of the Dreamers and Ballroom of the Skies.  A lot of his work was excellent, too; highlights include A Child Is Crying, Flaw, Game for Blondes, and my own favorite, the compact and nasty Spectator Sport, all of them promptly anthologized.


by Julian S. Krupa

Then it all stopped.  He had one last story in 1953 in Fantasy and Science Fiction, and since then it’s been all crime, almost all the time.  He did appear in the Merril annual “best SF” volume a couple of years ago with a weak fantasy from Cosmopolitan, The Legend of Joe Lee, and in 1962 published The Girl, the Gold Watch, and Everything, a crime novel (rather, a farce with some crime and attempted crime in it) with an SF premise: the time-slowing gimmick of Wells’s The New Accelerator and its numerous successors, including Macdonald’s own Half-Past Eternity, a novella for the pulp Super Science Stories in 1950.

Crime, it appears, paid—at least better than SF.  And in fact the SF market of the 1950s could never have accommodated the number of novels he produced.  His post-1952 short fiction, meanwhile, was split between the crime fiction magazines and the more lucrative likes of Cosmopolitan, Collier’s, and the Saturday Evening Post.

After that buildup, it’s unfortunate that Macdonald’s Vanguard of the Lost, from the May 1950 Fantastic Adventures, doesn’t amount to more.  Aliens have landed!  Well, not landed yet, but their fleet of ships is traversing the globe.  Larry Graim, statistician by day and SF writer by night, goes up to his building’s roof to check them out, and meets there Alice, a feisty young woman who proves to be the one who denounces Graim’s work relentlessly in the SF magazine letter columns (“the poor man’s Kuttner and the cretin’s van Vogt”).

Graim is disoriented by the fact that these aliens’ rather beat-up-looking, uncommunicative spaceships first seem to be mapping the earth, and then land and release large machines that start building things with no visible sentient direction.  It’s completely different from the plots he’s familiar with from the SF magazines, so he and Alice go try to figure out what’s behind the seemingly mindless display.  En route there is much mild satire of Everyman reacting to the unprecedented.  The denouement is uninspiring and ends on a note of slapstick, to be followed by wedding bells to complete the meet-cute plot.  It’s readable and vaguely amusing.  Three stars.

The Revolt of the Pedestrians, by David H. Keller, M.D.

The second novelet in the issue is David H. Keller’s first, and probably most famous, story, The Revolt of the Pedestrians (Amazing, Feb. 1928).  In the future, everybody is on wheels, all the time.  The mania for speed has overtaken everything else; the roadways are progressively more dominated by automobiles; pedestrians first become fair game and then are banned altogether, and hounded out of existence—or so it is thought.  By the time of the story, the legs of the ordinary citizen have atrophied, and everyone gets around the house and the office in miniature personal cars.  But . . . hidden in the wilderness, a remnant population of pedestrians is thriving, and scheming, and perfecting their science, and soon they shall declare themselves and their demands. 


by Frank R. Paul

This of course is all quite ridiculous.  But aside from that minor problem, this story is actually pretty good.  It’s well paced in a rambling sort of way, very smoothly written, with engaging central characters, with Keller’s soon-to-be-characteristic expositional chunks going down smoothly, and without the cranky and rancorous ideological overtones of some of his later stories.  And bear in mind that the absurd extrapolations here are a cruder version of the satirical method that later served Galaxy so well (compare Pohl’s The Midas Plague).  Three stars—four if one compares it only to other works of its time.

Dr. Grimshaw's Sanitarium, by Fletcher Pratt

I pinned Fletcher Pratt long ago as one of the more tedious SF writers going (actually, gone: 1897-1956).  I remember as a child trying to force my way through his Double Jeopardy, thinking that if Doubleday published it and it was reprinted as a Galaxy Novel, there must be something to it.  Then I encountered Invaders from Rigel, in which elephantine extraterrestrials turn humans into metal by manipulating radiation, and realized the futility of persevering with it, or with him.  (In fairness, Pratt’s outright fantasy, both his collaborations with L. Sprague de Camp and his unaccompanied work, was much superior.)

The Pratt-fall du jour is Dr. Grimshaw’s Sanitarium, from the May 1934 Amazing.  Our hero John Doherty is sent to the sanitarium by his employer for a rest after his courageous thwarting of a train robbery, which left him with some psychological difficulty.  It soon becomes apparent that Dr. Grimshaw is a sinister character and there’s something funny going on.  He’s turning people into midgets!  Soon enough the Doctor gets wise to Doherty and his friends and really gives them the midget treatment, so they end up having to survive in the grass, which is now apparently taller than they are, and subsist on insects that they manage to kill with makeshift weapons (reportedly, June bugs are reasonably tasty but houseflies are disgusting).  But now the end is near!  Grimshaw’s got a cat, and all is lost.  Two stars, barely.


by Leo Morey

Interestingly (sort of), when editors Leo Margulies and Oscar J. Friend solicited self-nominations for an anthology to be titled My Best Science Fiction Story, published in 1949, Pratt submitted this one, though he did acknowledge rewriting it for a more modern audience.  I did not investigate the revision.

The Flame from Nowhere, by Eando Binder


by Julian S. Krupa

Eando Binder’s The Flame from Nowhere (Amazing, April 1939) is a routine period adventure story: forest fire proves impossible to stop, turns out it’s really an atomic fire, must have atomic fire-fighting methods, our hero quickly whips them up in a flurry of mumbo-jumbo, making the penultimate sacrifice, two stars.  Next!

The Commuter, by Philip K. Dick


by Bill Ashman

Philip K. Dick’s The Commuter, from the August/September 1953 Amazing, during the magazine’s brief flirtation with high pay rates and a stab at higher quality, is one of many facilely clever stories from his early period of prolific glibness.  It starts with a small man asking a railroad clerk for a ticket book to Macon Heights, being told there is no Macon Heights, and disappearing.  It happens again.  A railroad official takes the train and finds it does stop at Macon Heights, which research shows was a proposed development that was rejected by the authorities years ago.  So what’s happening to reality?  The story, which foreshadows more substantial work by Dick on the same theme, is a trifle with a barb; it effectively conveys the official’s fear for his familiar world and life.  Three stars.

He Took It with Him, by Clark Collins

The issue concludes with He Took It With Him, by Clark Collins, actually a pseudonym of Mack Reynolds, who mostly used it for articles in men’s magazines, such as Beat’s Guide to Paris, in French Frills for October-December of this year (Beat?  In 1966?  What a square.) and Guide to Fallen Women in Sir Knight in 1961.  This story is from the April 1950 Fantastic Adventures. Bentley, a selfish rich guy with cancer who’s got a year to live, buys a noted scientist with a promise to build the research institute the scientist dreams of if he will only figure out how to preserve Bentley until such time as he can be revived and cured.  The new Institute will be charged with keeping him safe, and also hiding his money, converted to gold and diamonds, until he is awakened to (of course) a nasty surprise that’s not too obvious to the reader.  Readable, modestly clever, three stars.


by H. W. MacCauley

Summing Up

So, a middling reading experience—nothing too terrible, most of it at least agreeably readable, one surprise from the unlikely source of Dr. Keller, and the prospect of the Brunner serial pending. 

(For an excellent experience, you don't want to miss Part 2 of "The Menagerie", the next episode of Star Trek — join us tonight at 8:30 PM (Pacific AND Eastern — two showings)!!)

Here's the invitation!



1 Comment Leave A Comment
Magazine, Science Fiction/Fantasy

[November 22, 1966] Ha ha.  Very funny.  (December 1966 Fantasy and Science Fiction)

9 Comments


by Gideon Marcus

Joke's on me

I have a buddy in the Costume Designers Guild (you know her, too — she's Gwyn Conaway).  She keeps me up to date with the inside dope on Hollywood.  One tidbit she offered up recently was something she paraphrased from a manual for actors published this year: the last words of the actor, Edmund Gwenn, who passed away in 1959.  A visitor to his deathbed exclaimed that his final ordeal must be hard for him.

Gwenn replied, "Dying is easy.  Comedy is hard."

I think it was in Lighthouse, a fanzine for pros, that Lester del Rey suggested more writers should go into comedy rather than flogging the same tired "serious" science fiction canards.  The problem is that humor is harder than seriosity.  An inexerpt attempt to make one laugh produces the opposite effect.

And God help us all if an editor decides to fill an entire magazine with failed attempts.  This month's Fantasy and Science Fiction, for example…

No laughing matter


by Howard Purcell

Sabotage, by Christopher Anvil

Chris Anvil normally writes for Analog.  His stories often pit humans outstmarting aliens with a bit of clever sophistry those stupid ETs (inevitably made of straw) could never conceive of, let alone counter.  How one of these tales got into F&SF, I'll never know.

The setup: the vaporous Tamar and Earth are in a stalemated war.  Earth has the technology, but Tamar has the psychology.  They possess our people and try to sabotage our efforts.  None of their attempts have been particularly successful, but the latest threatens to be a doozy.  College students are becoming increasingly disaffected by something they're being taught, and while the immediate effect is small, the cascade could be disastrous.  Luckily, Officer McAmerican (every character's name is in Rank Surname format) is able to counter the insidious teaching with a lesson plan of his own.

Obviously, this is some kind of anti-Communist metaphor; again, one wonders why Campbell didn't pick it up.  Perhaps he's full up on Anvil stories.  F&SF may pay more these days, too.  Anyway, Sabotage is three times longer than it needs to be — or it's infinity times longer, if you feel the story never needed to be written.

Two stars.


by Gahan Wilson

The Mystery of the Purloined Grenouilles, by Gerald Jonas

In his first published story, Jonas gives us a baroquely told tale of a man who creates energy through reverse Galvanism: he hooks frogs up to a generator and tickles their legs.

Two stars.

Doubting Thomas, by Thomas M. Disch

Disch is an author who started so promisingly, but if this story, of a computer designed to suss out the veracity of magical events, is any indicaton of where he's headed, he might as well throw in the Smith-Corona. 

It just ain't funny, nor is it fun to read.  One stars.

The Martian Atmosphere, by Theodore L. Thomas

The "science" article describes what we know about the components of Mars' atmosphere.  Thomas seems to believe that because there's no oxygen that something must have happened to it.  Which presupposes it was ever there in the first place.  He also assumes that the carbon dioxide that makes up the majority of the Martian atmosphere is a byproduct of respiration.

At some point, we're going to have to come to terms with the fact that there's no life on Mars.

Two stars.

Von Goom's Gambit, by Victor Contoski

Take any position of the pieces on the chessboard. Usually it tells of the logical or semi-logical plans of the players, their strategy in playing for a win or a draw, and their personalities. If you see a pattern from the King's Gambit Accepted, you know that both players are tacticians, that the fight will be brief but fierce. A pattern from the Queen's Gambit Declined, however, tells that the players are strategists playing for minute advantages, the weakening of one square or the placing of a Rook on a half-opened file. From such patterns, pleasing or displeasing, you can tell much not only about the game and the players but also about man in general, and perhaps even about the order of the universe.

Contoski's tale, also apparently his first, is about an opening so repulsive, it is irresistible.  I'm a sucker for chess stories, and this is the first readable piece in the issue. 

Three stars.

The Green Snow, by Miriam Allen deFord

At first, it seems deFord will provide a bulwark against the droll tide.  After all, deFord is quite deft with menace and creep, skilled at eliciting deep and dark emotion, but she doesn't do comedy.  Thus, while a story that begins with the gentle falling of green-tinted snowflakes could have been a romp for others, in deFord's hands, it's clear we're in for a horror.

She executes it well-enough, though there's something of the last decade about it in its flavor.  But then, as if prodded by an editor overeager to have every story fit his chosen theme for the month, deFord adds a heavy handed joke at the end.

Which, of course, falls flat.  deFord doesn't do comedy…

The Gods, by L. Sprague de Camp

If there is humor in this short poem about the passage of the gods from human devotion, it is ironic.  In all fairness, I did enjoy this piece quite a bit.

Four stars.

The Symbol-Minded Chemist, by Isaac Asimov

The always good-humored Doctor A manages to stave off the jokeyness for another dozen pages, writing on the origin of chemistry's alphabet soup.  I always enjoy etymological articles, although the list of elements by alphabetical order of their chemical name seems a bit of padding.

Four stars.

Bumberboom, by Avram Davidson

It is centuries after The Bomb, and the resulting, almost anarchic society that sprawls across the Eastern Seaboard is threatened by Bumberboom.  It is a great cannon, though it has not fired a shot in generations, tended by an increasingly inbred crew, whose Captain Mog, somewhere between an idiot and a moron, is the brightest of the bunch.

Enter Mallian, son of Hazelip, who sees the ancient gun as an opportunity to carve a feudal realm out of the upstate New York, with him as its sovereign.

Bumberboom reads something like a cross between Jack Vance and R. A. Lafferty, combining the poetic resonance and creative settings that are the signatures of the former with the sometimes incomprehensible whimsy of the latter.  Davidson's problem is that when he decides to go for funny, he often writes himself into a twisted corner, his sentences meandering to get free of themselves.

Still, once you're into it, it's not so bad. Three stars.

The punchline

But not so bad is also not so good.  My nephew, David, called me last month to let me know he'd let his subscription to F&SF lapse.  I told him he was overreacting, that things had gotten better since Ferman had taken over from Davidson.  Now I can already hear an "I told you so" coming my way.

No joke!


Not me this month.



9 Comments Leave A Comment