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Science Fiction/Fantasy, TV

[April 2, 1967] On The Immortality Of The Crab (Doctor Who: The Macra Terror)

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By Jessica Holmes

In Spanish, there’s a rather delightful way to say you’re daydreaming: ‘Pensando en la inmortalidad del cangrejo’. It literally means ‘thinking about the immortality of the crab’.

The Macra Terror by Ian Stuart Black is a serial that I think will quite often have you pondering on crab immortality, and I don’t mean that it’s thought-provoking.

The first thing you’ll notice about this serial is that there are BIG CHANGES AFOOT. Not in anything trifling like the main cast, but they’ve gone and changed the style of the opening titles. Now they flash up a great big picture of Patrick Troughton’s mug on the screen, in case we forget what the main character looks like.

EPISODE ONE

The Doctor and company arrive in a colony that I can only describe as Butlins IN SPACE. For those of you who aren’t from my neck of the woods, Butlins operates holiday camps where they put on lots of group activities and shows and stuff. Not my cup of tea, but they’re inexpensive and very popular.

An unfortunate soul called Medok (Terence Lodge) has run afoul of the law, however. His crime? Not being deliriously happy, and for very good reason. He’s been seeing monsters.

The gang run into him (literally) outside the TARDIS, and the authorities soon arrive to take him for brainwashing, and take the gang for a makeover.

Yeah, haircuts and beauty treatments take up a surprising amount of the episode. The Doctor smartens up for all of ten seconds before promptly turning back into a complete scruffball. It’s mildly amusing, I suppose. I got bored.

It’s also clear quite early on (though it takes the characters a while to notice) that there’s something deeply weird about this place. Is it the singing shift-change announcements with lyrics like ‘we’re happy to work!’? Could it be the fact that they apparently have a ‘beauty president’? Or perhaps it's the omnipresent giant screens broadcasting the face of their beloved Controller (whose FACE is Graham Leaman, but whose VOICE is Denis Goacher, a fact that will make more sense later)?

Can’t quite put my finger on it.

Curious about what Medok has been claiming to see, however, the Doctor visits him in his cell and sets him free, meeting up with him later at a construction site. There, Medok tells him about the Macra: huge beasts, like giant insects with great claws, moving about in the dark. A few people have seen them, but those who fail to keep their mouths shut soon find themselves in the hospital for ‘correction’.

Oh, and there’s one just outside the building site at this very moment…

This is not a strong start. I get what the writer is trying to do here. It’s all a bit ‘Brave New World’ with a side order of creature-feature, but it’s just falling flat for me. The dialogue is very blandly written and quite wooden. It serves its basic function, but not much else. Let’s see if things improve from here.

EPISODE TWO

The encounter with the Macra gets Medok and the Doctor hauled in front of the colony's Pilot (Peter Jeffrey). Medok covers for the Doctor, telling the Pilot that the Doctor was only trying to apprehend him. The authorities send Medok back to the hospital, and the Doctor returns to his quarters.

The Pilot, meanwhile, decides his guests would benefit from some brainwashing. The Doctor wakes Polly up before the voices in the walls have too much of an effect on her, and Jamie manages to resist, but Ben’s completely under the Pilot’s spell, and even runs off to snitch when the Doctor rips the brainwashing equipment out of the wall.

A little later, Ben and Polly have their own run-in with the Macra, briefly snapping Ben back to his usual self as he comes to Polly’s rescue. However, by the time they get back to the Doctor, Ben’s once again mind-controlled. I can tell because for some reason his accent changes. Apparently you get free elocution lessons with your brainwashing.

Finding brainwashing equipment in the Pilot's quarters, the Doctor realises that somebody is brainwashing the Pilot himself. The group (sans Ben) start to question the very existence of the yet-to-appear-in-person Controller. There’s something fishy about the place, and it all seems to stem from him.

The group demand to see him in person, and surprisingly he acquiesces. But the Controller is no longer a young man with a jawline you could use to cut glass. He’s old. Very old. And it doesn’t appear that he’s the man in charge any longer, if he ever was. It's been his face on the screen… but not his voice.

And it appears that he has outlived his usefulness.

The Macra aren’t a new threat to the colony after all. They’ve been running it all this time.

This episode’s a bit more interesting, and the reveal with the Controller is quite well done, even if it is a bit ‘Wizard Of Oz’. PAY NO ATTENTION TO THE CRAB BEHIND THE CURTAIN.

EPISODE THREE

Now that they know the truth, the real Controllers send the gang down to the pits to mine for gas, where they reunite with Medok. The Doctor remains on the surface to supervise and meddle, and manages to reverse-engineer the formula for the poisonous gas that the colonists are mining, but can’t work out what it’s for.

Down in the tunnels, Jamie steals the keys to an access door from an overseer, and sneaks into an abandoned mineshaft. Medok goes after him, but almost immediately runs afoul of a giant claw.

Jamie finds him dead and runs into the beasts that killed him, but that’s not the end of his problems. Learning that Jamie has gone out of bounds, Control vents gas into the old shaft. If this gas is so valuable, the Doctor is puzzled that they’d waste it on killing Jamie. It must have another use. Bear in mind he doesn't have any way of knowing what exactly is going on inside the shaft. He can't see the Macra, or communicate with Jamie. He just knows that Jamie is in there. And yet he manages to come to the conclusion that there must be Macra in the mineshaft, and they must need the gas to live. He’s right, but that’s a leap of logic bordering on omniscience. It’s not very satisfying to watch the invisible hand of the writer blatantly hand a character information.

The Doctor and Polly scramble to stop the flow of gas, but the Macra are encroaching on Jamie…

EPISODE FOUR

The Doctor manages to pump fresh air into the mineshaft just as the Macra begin to drag Jamie from his hiding spot, and then there’s a convenient rockslide just to make doubly sure they’re dead.

With that problem dealt with, Jamie escapes the tunnel and runs into something much worse: cheerleaders.

To escape them, he dances the Highland Fling. It’s… quite something. Unfortunately, Ben catches him, and reveals him to the authorities. It seems the brainwashing is starting to wear off however, as Ben clearly struggles with himself as he betrays his friend.

On the run from the authorities, the Doctor and Polly end up finding their way to the control room, and spot the Macra within. They’re like parasites that have completely hijacked the colony. The Pilot needs to see this.

It’s a struggle to get him to come with them, but the Pilot manages to resist Control’s command, and he’s horrified to find out that they’re telling the truth. Apparently a lifetime of brainwashing doesn’t come with any cognitive dissonance. However, the group are apprehended, and forced into a room which begins to fill with toxic gas.

Ben chooses this moment to finally shake off his brainwashing and come to the rescue, messing around with the gas inflow and outflow to create an explosion. Somehow. And it only blows up the Macra in the control room. This bit is not very well explained at all.

All’s well that ends well, and the colonists try to elect the Doctor as their next pilot. That won’t do at all, so the gang heads off on their merry way, dancing through the celebration as they go.

Final Thoughts

So, that was The Macra Terror. Was it terrifying? Uh, no. Perhaps to younger children, but I’m not scared of crabs so there’s nothing about making a crab BIGGER that makes it any scarier to me. The Macra model itself is quite impressive in terms of scale, I’ll give it that much.

Character-wise, nobody’s interesting enough to comment on, and the plot doesn’t have much going for it either. It’s just a bit dull. On paper the idea of a colony being secretly controlled for an ulterior purpose sounds quite interesting, but the execution just feels flat. Rather than ‘oh my goodness!’ my reaction is more ‘Oh, and?’ because it ultimately doesn’t seem to matter that much.

Everyone finds out they’ve been under the control of a bunch of evil crabs for the past few decades and they just go right back to business as usual once the crabs get blown up. I think there was a missed opportunity to examine how the colony might adjust once the influence of the Macra was lifted. Their entire culture revolves around working and keeping the masses mindlessly happy and obedient. What happens to them when their entire reason to be here is suddenly removed? I’m not asking for half a dozen episodes of political fallout, but maybe a single conversation isn’t too much to ask?

All in all, it’s a pretty forgettable story. Not dreadful, but if you didn’t get to see it, don’t worry. You’re not missing much.

2.5 out of 5 for The Macra Terror




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Science Fiction/Fantasy, TV

[March 30, 1967] The Peacekeepers (Star Trek: "Errand of Mercy")

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by Gideon Marcus

Star Trek offered a mirror to our present day world of Cold War tensions with its latest episode, "Errand of Mercy".

The episode begins with two mighty star nations, the United Federation of Planets ("a democracy") and the Klingon Empire ("brutal, savage") about to go to war.  And not a border skirmish, but a full on, fleet vs. fleet conflict that may see one of the parties laid to heel.

In between them, strategically located, is the planet of Organia.  Its inhabitants are humanoid, seemingly primitive.  As chance would have it, the Enterprise gets there before the Klingons, and Kirk (accompanied by Spock) attempts to persuade the Organians to accept a Federation protectorate, in exchange for defense, technology, education, and other benefits of enlightened society.

The Organians rebuff a bemused Kirk, assuring him that there is no danger.  Whereupon the Klingons arrive, quickly establishing a military governorship.  Unable to convince the Organians to fight for their freedom, Kirk and Spock attempt a two-man resistance effort.  They are quickly sold out by the Organians, but then rescued from prison by the self-same natives. The Klingon Commander, Kor, orders the slaughter of 200 Organians every hour until they are returned. Again, the Organians assure our heroes that nothing amiss is occurring.

Ultimately, two mighty battle fleets square off in the vicinity of Organia.  This proves to be the last straw.  The people of Organia demonstrate heretofore unseen power, their spokesman, Ayelborne, appearing in person on the Klingon and Federation homeworlds, announcing the immobilization of all combatants.


The Organians reveal their true power

In a nice moment, Kirk and Kor express their outrage at not being allowed to settle their differences through war.  They quickly come around when it is clear they have no choice.  In the final act, Kirk broods over his belligerence, feeling much chagrined.  Spock explains that they have many millennia to go before they, too, can become Gods.

We've seen many episodes where the Enterprise meets much more advanced races: "Charlie X", The Squire of Gothos", "The Corbomite Maneuver", "Arena", "Shore Leave".  Some might even be tired of the theme (I am not–we should expect half of the beings we encounter to be far beyond us; cosmic timescales favor this).  But "Errand of Mercy" is the best of this type of show we've seen so far, illuminating our frailties as a species beautifully.

"Errand" is aided by some of the best casting we've seen in the show.  John Abbott imbues Ayelborne with dignity and strength, suffused with a penetrating mildness.  And John Colicos, who I've seen before on Mission: Impossible, is affably delightful as Commander Kor.  By turns irritated and almost entreating, Kor comes across as, if anything, a lonely man.  He is isolated by his rank, by his position as an obvious intellectual and aesthete in an Empire of thugs.  Kor seems to want nothing more than to have a friend, and the only person who might qualify is his mortal enemy, Captain Kirk.  To echo Mr. Spock, "fascinating."

I appreciated the justifications for war laid out by both sides, as they appealed to Ayleborne to allow them to continue their fight.  The Klingons, Kirk says, raided planets.  The Federation, Kor insists, was hemming the Klingons in, cutting them off from territory that had always been theirs.  Yes, the American/Soviet parallels are strong (to the point that Kor boasts that the Klingons will win due to their unswerving dedication to their state, and their positions as cogs in its system).  Juanita Coulson, in the latest Yandro, praised the show for its economy of writing, how much they back into almost throwaway lines.  This episode does a lot with a little.  In this, they are aided by director John Newland, who did most of this year's excellent (but abortive) spy show, The Man Who Never Was.


And Sulu took the center seat again!

There were some complaints voiced about the show during our viewing.  Two observed that Kirk was too quick to take the Organians at face value, asking the wrong questions (when he asked any) as to why they felt so secure.  To that, I note that 1) Kirk is, as he says in the episode, "a soldier, not a diplomat"; his behavior is entirely consistent with what we've seen in prior episodes (viz. "The Squire of Gothos" and "Arena").  2) A war had just been declared, with shots already fired.  Kirk's focus was, shall we say, narrow.  This also may explain why Spock was unusually accommodating in his impromptu guerrilla role.

Indeed, that's what I love about this episode.  The Organians put themselves into a form humans can understand, and yet it's still not enough.  Both Kirk and Kor (an intentional similarity of names?) are irritated with these beings who do not behave as they "should".  The only beings with whom they share any common ground are each other!


"In another life, I could have called you 'friend'.  Wait.  Wrong episode.

Another viewer noted that the Federation, as American analogs, would have simply taken Organia, as the Klingons ultimately did (or tried).  And perhaps they would have.  I like to think the humans (and Vulcans) are better than that.  At the very least, Kirk tried to persuade them peacefully.  But given the deliberate portrayal of the Klingons as the Federation through a glass darkly, I think the viewer may have had a point.  And probably one intended to be gotten by the writer.

Speaking of which, Gene L. Coon is a name that has popped up several times recently.  Between writers Coon and D.C. (Dorothy) Fontana, it does seem that Star Trek is reaching a consistent maturity.  Gone are references to "Earth" (though the "Federation" has a single homeworld, per Ayelborne the Organian).  The show seems to have settled on "Vulcan" over "Vulcanian".  The characters are firmly established.

With the arrival of the Organians, one wonders if the character of the show will change drastically.  Are the Organians a galactic phenomenon, or do they only care about their sector of space?  That they didn't intervene in the war with the Romulans suggests the latter.  If the Organians are strictly local, will the Federation and Klingons find other frontiers to fight about?

I can't wait to find out!  Five stars.

A Peaceful Fantasy


by Jessica Dickinson Goodman

I've written before about alien cultures reacting to Federation colonialism – from the Horta last week to the Gorn a few weeks before. In this episode, we got to see what Captain Kirk hoped was the beginning of if not colonization, then as Gideon puts it, "protectorate status."

And we saw the Organians gently reject this and all such overtures. Over and over again, we hear varions of of, "Captain, I can see that you do not understand us. Perhaps…" and "We are in no danger."


"Mellow out, man.  Everything's cool!"

At first, like Captain Kirk, I thought the Organians unbearably naive. But it turns out that Captain Kirk, and I, were arrogant. They were in no danger; capable of unilaterally ending a war that promised galaxy-wide devastation with a thought. They were ably prepared to defend themselves and the two societies who so wished to do violence around them.

Of all of the god-like aliens we have seen, I liked these the best. No capricious squires or whiny, cruel children; the Organians had a philosophy, the discipline to live by it, and the power to ensure they remained unbothered by outside forces while on their paths. I can imagine the Horta or the Gorn would have envied those powers, though as Commander Spock pointed out, "it took millions of years for the Organians to evolve into what they are. Even the gods did not spring into being overnight."


Spock comforts Jim for being a primitive.

I find these forms of power fantasies deeply satisfying. Every day, we see the power of violence, of guns, of bombs, of war. To see, if only for a few, technicolor minutes, a power to stop war? To prevent violence? To ensure cultural continuity and security in the face of attempts to colonize? That is a fantasy I enjoy a great deal. Lest I sound too star-struck, I will note that I would have preferred to see any Organian women, any evidence of many cultures mixing together, of creativity, of growth, rather than the mild stasis that seemed to characterize their society. But for what it was, it was good to see.

Just don't ask me to live there.

Four stars.

An Actually Superior Superiority


by Elijah Sauder

In this episode of Star Trek, we saw not just the most powerful god-like-beings we have seen, but also the most compelling. In our previous encounters, the god-like-beings' powers were potent, but only in a localized region of space. In this episode the Organians immobilized the entire Space Force and Klingon Empire’s armies. To quote (approximately) Kirk, “We never had a chance; the Organians raided the game.”


"Mooom!  He started it!"

As humans we want to feel in control and to exert such control through whatever means necessary; we meddle, we fight. But the Organians did not exhibit the same behavior. They expressed disgust at the thought of meddling, and when they meddled, it was in the most pacifist of ways. This gave them a suggestion of superiority far greater than that of the previous powerful beings, who flaunted their power in a way that was nothing more than human.

I very much enjoyed this episode through and through–not just as a show, but as a writer’s vision of what we should strive to be. Looking around at the violence and overreach of global superpowers we see today, what would it look like if we could transcend our primal nature to something better?

I give this episode 5/5.

The Dittoverse


by Lorelei Marcus

A crucial part of the science fiction genre is aliens, and Star Trek gives them to us in great variety.  We have the completely unfamiliar aliens like the salt-monster from "The Man Trap" or the silicon-based carpet monster from "The Devil in the Dark".  Then there's the God-like beings, which display evolution well beyond the people of the Enterprise.  My favorite aliens, though, are the humanoid ones, because their existence suggests a great deal about the Star Trek universe.

The Klingons are the third race of aliens we've seen that seem to be technologically and evolutionarily similar to the humans of the Federation.  First were the Vulcan(ians), and then the Romulans, though there is strong evidence that the Romulans are distant relatives of the Vulcans, and thus constitute one species.  The Klingons seem to have a similar relationship to humans based on their appearance, customs, and technology.  Perhaps the Klingon Empire is the result of a colony ship like Khan's, launched during Earth's warring period.  Yet I suggest there is a larger mystery afoot.

Minor differences aside, there is also a distinct resemblance between humans and Vulcans [and apparently an ability to interbreed (ed.)].  Initially, one could attribute this to the limitations of Star Trek's make-up department, but I propose there is an explanation for not just the connection between humans and Vulcans, but every humanoid alien seen and to be seen on the show.


Amazing fashion sense aside, the Klingons are remarkably humanoid.

This answer lies in "Miri" (the episode, not the character).  "Miri" introduces that 'mirror Earths' exist, worlds that appear exactly like the Federation's homeworld, yet with distinct populations and even timelines.  While we've yet to see another identical Earth like the one in "Miri", we have seen many habitable worlds and humanoid aliens.  What if a common ancestor of the humans, the Klingons, the Vulcans, all started from the same place, on the same world, at a certain early point in its evolution?  Then, this proto-Earth was progressed countless times in separate timelines, each evolving into the cultures and creatures we know.  Each of these separate Earths were somehow folded into one space, perhaps with some space-time affecting technology like a Starship's warp drive.  We already know time travel is possible using the Enterprise.  Why not an accidental collapse of the fourth dimension as well?

There is a simpler solution, of course.  All of these identical worlds could be deliberate constructs for some higher being's experiment.  Personally, I think this explanation is less interesting, but with the number of God-like aliens we've seen, probably the more likely.

Either way, I love science fiction that makes me speculate on the very fabric of the universe.  This episode is definitely a great additional piece to the puzzle that is Star Trek.

Four stars.

I have no idea what to make of this next episode of Star Trek.  Come join us tonight at 8:30 PM (Eastern and Pacific) and help us figure it out.

Here's the invitation!



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[March 28, 1967] At last, a drop to drink (April 1967 Analog)

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by Gideon Marcus

Back to Basics

Our family recently went to the movies to see the latest war epic, Tobruk.  It's the story of a British commando unit teamed with a company of German Jews charading as a unit of the Afrika Korps.  Their goal: to destroy the supply depot at Tobruk and stop Rommel in his tracks.

The first half was decent, but the second devolved into Hollywood schlock.  Particularly when one knows one's history: there was such a raid, but it ended in abject failure.  Tobruk is not so mind-numbingly mediocre as TV's Rat Patrol, but they are in the same genus.

How to get the taste out of my mouth?  As it turned out, local channel 9 was airing the old Bogart movie, Sahara, filmed in 1943 as the war was going on.  I'd seen it when it first premiered, and so I knew to circle the listing and bake the popcorn so my family and friends could enjoy it with me.  If you haven't had the pleasure of this amazing saga of a lone M3 tank in the African desert, and its ragtag crew it collects from nearly a dozen different nations, well, give it a watch next time it airs.

Old Standby

Just as I found the antidote to modern bloat in a classic production of the '40s, this month, the answer to the rather lackluster science fiction being turned out of late was found not in a magazine of the '40s, but in one that, for many, peaked in that "Golden Age."  Indeed, the April 1967 Analog was one of the finest examples of Campbell's editorial output in a long time.


by John Schoenherr

To Love Another, by James Blish and Norman L. Knight

First, a case of eating words.  Please pass the mustard.

James Blish and Norman L. Knight have composed a number of novellas in a particular setting.  A few centuries from now, humanity is bursting at the seams, shoulder to shoulder on a severely overcrowded planet.  The science of tectogenetics has created a new race of humans, the Tritons, one perfectly at home in the oceans.  Against this backdrop, the asteroid "Flavia" is on a collision course with Earth, threatening tremendous damage when it hits.  Efforts are being made to minimize its impact (pardon the pun).

Two stories have been set in this timeline: The Shipwrecked Hotel and The Piper of Dis.  I rated both of them two stars.  They were dull, plodding tales, and after the last one, I stated, "I hope this is the last piece in the series."

I take it back.


by Kelly Freas

To Love Another is a vivid tale of love between Dorthy Sumter, head of Submarine Products Corporation, and her lieutenant, the Triton Tioru.  It's hard to describe it as having a plot, in the strictest sense of the word.  Rather, it is a pair of viewpoints at a particular juncture in humanity's history, one of its most momentous.  It is a gentle adventure that runs from the depths of the ocean, to the hive of a Habitat '67-type city, to… well, to the place In-Between.


Habitat '67 in Montreal

Not quite five stars, but excellent stuff.

The Enemy Within, by Mack Reynolds


by Leo Summers

What's a mother to do when her eager little boy winds up locked inside a psuedo-intelligent spacecraft, and all her efforts seem only to make the problem worse?

This is an effective, well-drawn tale by Mr. Reynolds, though if there is anything to be taken away from it, it's that spanking is an outdated punishment that ultimately does more harm than good.

Three stars.

The Feckless Conqueror, by Carl A. Larson

If humans are to settle other planets, they will either have to adapt to new environments or adapt their enivronments.  Larson examines the adaptibility of the human species, noting our tolerance to oxygen pressure, heat, cold, gravity, and magnetic fields.

It's pretty good.  Three stars.

To Change Their Ways, by Joseph P. Martino

On the planet of New Eden, where the men grow wheat and the women…turn it into bread and noodles…famine threatens.  Seems the hardheaded farmers refuse to give up their tailored grain, which cannot tolerate the seasonal cooling that is gradually chilling the planet (seasons last decades on this long-orbit world).  A sector administrator is sent to help out the planetary coordinator, mostly to harangue him about being tougher with the recalcitrants.

If ever there was a story with no drama, no plot beats, no there, it's this one.  Two stars.

The Time-Machined Saga (Part 2 of 3), by Harry Harrison


by John Schoenherr

Last month, I was a little hard on Harrison's newest serial, in which a time machine is put to work for cheap on location shooting in the 11th Century.  It's better this time around, as the production of the film goes underway.  The beefcake hack of a star gets a broken leg and refuses to work.  Luckily, Ottar, the native Viking, is more than willing to work for a bottle of whiskey a day and a silver mark a month.  And he's a natural for the part!

But while the scenes filmed in Norway and the Orkneys go well enough, a wrinkle is introduced when it is discovered that there are no colonies in Vinland–not in the 11th Century or ever.  Only one solution for that: found Vinland (with cameras rolling, of course).

It's rollicking fun with a lot of good encyclopaedic data.  My only quibble is that the timeline of Harrison's book is clearly all of a piece; the first installment had the film crew seeing themselves from a "later" time trip in the past.  But if the timeline exists with all travels baked in, why didn't they find themselves filming the landing at Vinland?  Perhaps this will be explained next chapter.

Either way, it's still worth four stars.

Ambassador to Verdammt, by Colin Kapp


by Kelly Freas

Imagine a race of aliens so bizarre that the human mind can barely register their existence, let alone make meaningful contact.  The science team on Verdammt knows the Unbekannt are intelligent beings, but prolonged interchange leads to a psychotic break.  It will take a very special kind of ambassador to bridge the species gap.

This is a story that would have fared better in the hands of a true master, a Delany or a Cordwainer Smith.  As it is, there's a bit too much artificial delaying of shoe-drops to heighten drama.  The scenes from the perspective of the character meeting the Unbekannt lack the lyricism to really make them shine. 

That said, it is a neat idea, it is at least competently rendered, and it made me think. That's what an stf story's supposed to do, right?

So, a solid three stars.

Compare and Contrast

For the second time this year, Analog has topped the pack of magazine (and magazine-ish) offerings, clocking in at 3.2 stars.  Thus, it beats out New Worlds (3.1), IF (3), Path into the Unknown (2.6), Fantasy and Science Fiction (2.5), Galaxy (2.3), New Writings #10 (2.2), and Amazing (2.1).

It was a pretty peaked month, in general, with the best thing outside this issue probably a fourteen-year old reprint by Judith Merril (which was, in fact, the only piece published by a woman this entire month).

Still, it's nice to know that oases can still sometimes be found, even this often bleak desert of a modern magazine era.  Here's hoping it the hot spring doesn't turn into a mirage next month…



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Magazine, Science Fiction/Fantasy, Serial

[March 26, 1967] Changes Coming New Worlds and SF Impulse, April 1967

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by Mark Yon

Scenes from England

Hello again!

So I’m now having to get used to receiving just one issue of the British magazines a month. The deal made with the Arts Council last month means that I was guaranteed this issue, which I understand will be the last in this paperback format. It is less but is it a case of "less means more"? Let’s go to the issue!

Editor Mike Moorcock is clearly busy this month, and as a result we have a Guest Editorial from the much-plaudit-ed Samuel R. Delany, who I know is making quite an impact in the US with his novels (Babel 17, amongst others).

Though it is well written, it’s another editorial discussing the future of science fiction. Editors Moorcock, Harrison and Bonfiglioli have all covered this in various issues in the past few years, and this isn’t really anything new. It may, however, be for new readers. It is unsurprisingly positive and embraces the change that we’ve seen in recent years.

To the New Worlds/SF Impulse stories.


Illustration by James Cawthorn

Daughters of Earth by Judith Merril

Judith Merril is currently writing reviews for the Magazine of Fantasy & SF and editing The Year’s Best SF anthology. In between her work on those, she also found the time to revise one of her pieces from December, 1952.

Allowing for the fact that it's a reprint, Daughters of Earth is a cracker in that it takes a lot of old-fashioned science fiction ideas but gives them a modern, different twist. It is the story of future human space exploration but instead of the usual future being determined by men, this is told through successions of generations of women in one family. It is a deliberate subversion of the usual science fiction cliches.

To emphasise this, the story begins in an almost-Old Testament style: “Martha begat Joan, and Joan begat Ariadne. Ariadne lived and died at home on Pluto, but her daughter, Emma, took the long trip out to a distant planet of an alien sun. Emma begat Leah, and Leah begat Carla, who was the first to make her bridal voyage through sub-space, a long journey faster than the speed of light itself”. We go from the Earth to the Moon with Joan, from the Moon to Pluto with Ariadne and from Pluto with Emma to Ullern, a planet reached on the spaceship Newhope through FTL travel. There the colonists meet aliens.

It is an epistolary story, initially told through letters written for Carla, a future descendant, and for future generations on Ullern.

This may sound like a typical space-exploration story as humans expand their influence to the stars. However, it is different in that although it is clearly writing a history, it shows the female of the species in a more positive and pro-active light than usual, even when at times it regresses to soap-opera. With that in mind, the story is perhaps proto-feminist and shows that the future is not just male heroism and gung-ho histrionics, but also about love, family, and personal sacrifice, as well as coming to grips with the fear created by travel into the unknown.

Pleasingly refreshing, this makes me think that this is the sort of story that Heinlein would like to write, but can’t quite reach. It is an example of how traditional science fiction can be given a modern update. 4 out of 5.

Aid to Nothing by P. F. Woods

And then a step down, from the author also known as Barrington J. Bayley. A story of conflict when a Martian tribe, the Sussorr, meets colonising humans. The Sussorr are receiving telepathic vibes from their neighbours the Tuaranth. The beginning reminds me of A. E. van Vogt’s The Black Destroyer, but it soon degenerates into a story where other parts read like a cut-rate Edgar Rice Burroughs. The sympathy is clearly with the peaceful Martians, emphasised by the cartoonish war-loving humans, led by a man annoyingly named Bungleton. 2 out of 5.

Three Short Stories by Thomas M. Disch

The return of Mr Disch, who recently exploded into the British magazines (and was perhaps most recently noted by our Noble Editor for his expletive-laden story in this month’s Magazine of Fantasy & Science Fiction), started well and yet recently has had stories published that to me felt like his writing is running out of steam.

The title tells it all – there are three stories. The first is a story told by a man to another about a girl he knew before she committed suicide. The storyteller is shot by a secret agent once he has told the story. In the second part, Thadeus and Diane are looking to move into a dilapidated New York apartment, where they discuss life and love before leaving. In the third piece, Mrs. Neary is on a ship that is sinking.

Lots of metaphor and clearly sentences that are meant to mean something, but the point of the stories seem to have passed me by. I’m sure that the stories means something to somebody, and that the three stories are connected in some way, but if they are it is all a bit beyond me. Disch can write – but this is still a bemusingly metaphorical disappointment.3 out of 5.

Illustration by James Cawthorn

The Key of the Door by Arthur Sellings

Arthur is an author much liked by Moorcock, so the return of this writer to New Worlds is not entirely a surprise. His last story was That Evening Sun Go Down in the September 1966 issue of New Worlds.

I had better just check, though. Are you aware in the US what the phrase “Key in the Door” means to us Brits? Just in case you’re not (and apologies if you are!) here it’s a turn of phrase to describe the rite of passage, reached at the mighty age of twenty-one, when according to the adage, the person is symbolically given the key of the door to a property. It really means that they are now an adult, with the freedom to do what they want in their future. Here such matters are turned into a light-hearted time-travel story that’s moderately humorous and not to be taken too seriously.

Victorian Godfrey is discovered to be using his father’s time machine, travelling to 1985 and 2035. There he saw his father dancing with a young lady, but is reluctant to tell his father this. To his father’s horror, Godfrey’s travelling has changed things in the future. As you may know, humour is very divisive and usually for me doesn’t do too well. This one is… fair. It provides a bit of lighter counterbalance to the rest of the issue. 3 out of 5.

Book Reviews

I’m pleased to see the return of a book review column, even if it is for only one book! Guest reviewer Brian Aldiss reviews I. F. Clarke’s (no, not that one!) book, Voices Prophesying War 1763 – 1984. Brian goes through the book in some detail, pointing out the (mostly) positives and negatives of the book. It rather sounds like the sort of thing Olaf Stapledon was doing with First and Last Men – quite dry, but full of science-fictional ideas. Might be worth a look.

Summing up New Worlds / SF Impulse

Really this is a holding issue, in that it is the last before we get the new New Worlds in its new form, whatever that is. Whilst it is not quite the same as the “What do we have left?” issue of last month, it is still a little underwhelming. As you might expect, the Merril short novel dominates the issue at about 70 pages and is as good as I had hoped for, but it is a (revised?) reprint. The rest of the issue is lesser material. Even the Disch felt like sub-standard work.

And as is clearly explained in the beginning, that’s that.  Goodbye SF Impulse, hello New New Worlds!

It looks like Mr. Disch may be important. I’m hoping that this new material may be better than his recent efforts, good though they can be.

Until the next – whenever that is!



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Fashion, music, politics, sports

[March 24, 1967] One Door Closes As Another Opens (Death and Renewal with a VW Bus)

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by Victoria Lucas

A Door Closes


Ruth Clark Lucas, 1897-1966

Except inside me, the door to my mother is forever closed. If anyone should wonder where I’ve been these past few months, the answer is grieving. In November my mother died and my partner Mel and I drove to Tucson to sell my house (the one I paid the mortgage on while going to Stanford), pick up whatever seemed right, deal with legal and funeral home details, and then drive back to SF again, and our little place at 29 Hodges Alley.

While we were in Tucson the funeral home had a memorial service, and I attended after some consultation (coffin closed). She had so few friends, only from where she worked. When I got home I finally looked at a copy of the death certificate I had acquired. It gave me a shock. It said she died from alcoholism.

Actually, I think it slammed


My pal Joe Bfstplk

I was completely clueless, but my man Mel claims to still be a recovering alcoholic after many years of being sober, admitting that he is still on the road to recovery rather than having accomplished a “cure.” He said he had recognized the signs when we were in the house–a random liquor cabinet full of bottles, all open and most with very little in them, and other things. The house gave me the creeps so bad I insisted we sleep in our van in the driveway rather than in a bed in the house. It was as if the cloud over Joe Bfstplk in Li’l Abner cartoons had escaped and was looming over my old home.

A door hanging open


Why, that looks like our bus

The vehicle we slept in, though, is a door to the future, and I must leave my grief before I get these pages wet. Mel and I had begun to talk about taking the transfer and raise he has been repeatedly offered at his place of work, Hartford Steam Boiler, to go to New York City, as Phase I of our overall plan to visit Europe. In preparation for driving there we bought a VW van from some friends, a Lesbian couple who have settled down and have no further need for a vehicle they can sleep in. Mel and I sold our individual cars. Now we are planning the trip across country.

Magazine in a box in my future?


Aspen Magazine No. 4

Partly to get a taste of New York, and partly because of the contents, I bought a “magazine” produced in New York City that makes me want to look up the publisher when we get to that city of publishers. This one, though, is a bit odd. It’s a “magazine in a box” called Aspen.

The spring issue is just out, and I am really fascinated with the concept and the content of this issue, which includes John Cage and a tiny record with electronic music.


The contents of Aspen Magazine No. 4

The move will mean leaving the publications we’re used to buying, or in my case, writing for, here. (Fortunately, I'll still be able to write for the Journey!)

Goodbye, Barb


The first Barb of the year

The Berkeley Barb has been my paddle in strange waters, sometimes my sounding board.

Goodbye, Oracle


A recent Oracle

And the San Francisco Oracle has been a predictor in uncertain times, a wad of possible futures, many of them hopeful. I don’t know if we will be able to get it in New York. We shall see.

Oh, wait, I forgot that I've already written for The East Village Other, and I've been reading that paper for awhile. And there is so much music, so much in NYC! I'm looking forward to John Cage concerts and St. Mark's Church events, and so on I've seen in the Other, and oh, the museums!


The Guggenheim

Museums and Concerts and Protests, Oh, My!

I especially want to see the Guggenheim both for the art and the architect. And the 59th Street Bridge, just so I can feel groovy! And we'll want to visit friends at The Bead Game (an old pharmacy building with drawers of beads). I've never been to New York before.

In fact, when I think about it, I've never been east of Arizona. Just crossing the country will be, yes, OK, a "trip," a learning experience. We aren't doing a lot of fitting out of our bus, because travel expenses are included in Mel's deal, and so there's money for motels and meals out. We're also taking camping stuff so we can stop at nice places to camp and put up a tent. I was taking a course of allergy shots in SF, so there's a spot in our new Coleman ice chest for my vaccine, and Mel will administer them. We will join protests in New York City as we have here. So much to do, tee do dee, please excuse me. I'm just bursting into song. I'll be happy to report from time to time.

I hope you'll keep tuning in!




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Science Fiction/Fantasy, TV

[March 22, 1967] The Lurking Fear (Star Trek: "The Devil in the Dark")

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The Devil’s Advocate


by Andrea Castaneda

There appears to be a recurring theme in Star Trek that showcases how a planet's native species respond to human interaction. In “Arena”, “Galileo Seven”, and “Man Trap”, we’re presented with an outright hostile response that thwarts the possibility of a sustainable settlement. “Devil in the Dark " appeared, at first glance, to go in this direction. However, it is the way this week’s “monster” is framed in an empathetic light that sets this episode apart.

The episode proceeds predictably…at first. On planet Janus VI, a mysterious thing is killing man after man deep in the Pergium mines. Enter the Starship Enterprise, who are called to investigate the matter. After getting briefed by colony chief mining engineer Vanderberg, Kirk and his crew set out to track down and kill whatever this creature is. But not before Spock examines a perfectly spherical rock, describing it as a “geological oddity”. Vanderberg refers to it as a silicon nodule, saying his team found thousands of them after they opened a new level.

It didn’t take a lot of brain power for me to deduce that the nodules were probably the creature’s eggs. The mining operation threatened its nest, so the creature began to defend it. The Gorn in “Arena” and primitive species in “Galileo Seven” responded with a similar hostility to the perceived “invaders”. Why would this creature be any different?


"This egg-like thing? No idea what it is."

Suddenly, alarms blare, the crew rushes outside, and to their horror they see there’s been another attack. Not only is another man left dead, but the creature has taken a vital piece of equipment, one necessary to sustain human life. And while Scotty’s ingenuity buys them time, they now have a race against the clock. Perhaps that’s why Kirk takes on a more militant approach, ordering his men to shoot the creature on sight.

Eventually, Kirk and Spock come face to face with the creature at last. Looking like a blob made out of a shag rug and Chef Boy-ar-dee, it approaches them, and the men fire their phasers. Wounded, a piece breaks off, and it retreats back into the rock. Examining the piece, the men conclude that it is a silicon based lifeform–explaining why it didn’t appear on their carbon-based lifeform scans. As the men speculate about what the creature is, a fear dawns in Spock that it may be the last of its kind.

We are given a similar situation in "Man Trap", in which a lone shapeshifting salt-sucking creature kills many members of the Starship Enterprise to survive. But as the conflict hinges more on McCoy's personal affection for the creature–who looks like his old flame–its death is more symbolic of McCoy choosing duty over love. We get one mournful moment when Kirk reflects on the now extinct species, but it is framed as something that had to be done.

But this is where “Devil in the Dark” makes the most significant deviation from the format. When confronted with the creature again, Kirk has a change of heart when he sees it recoil from the sight of the phaser. Realizing it may be more than just a mere animal, he asks Spock–who now wants the creature dead to save Kirk–to touch minds with it.


Heart to…heart?

This was the moment that made this episode stand out for me. Speaking through the Vulcan, the creature identifies itself as a Horta and explains how she only started the attacks after the miners destroyed her eggs. Because the rest of her species died out, something that happened every 50,000 years, she was left as the lone protector of the eggs.

We are given a similar exchange in "Arena", when the Gorn tells Kirk his kind "destroyed invaders" of his planet, but it isn't nearly as emotionally charged as the Horta’s. Through Spock, the creature sobs, lamenting the impending doom of her kind and calling the humans “murderers” and “devils”. Kirk now realizes the misunderstanding and calls McCoy to heal and save the creature.

Unbeknownst to them, the angry mob of miners overwhelm the Enterprise’s security team, and rush to claim… whatever the Horta has for a head. But Spock, having learned her species’s history, convinces them that she is benevolent by nature. As proof, he explains that she had known about the human colony for the last 50 years, only attacking in recent months as a last resort to protect her species. And by some miracle, the men’s anger is suddenly quelled, having seen the error of their ways. It is, perhaps, an over-generous portrayal of human forgiveness. But maybe the agreement of letting Horta hatchlings help in their mining operations–thus giving them more profit–is what helped let bygones be bygones.

“Devil in the Dark” isn’t a flawless episode. But the moving portrayal of the Horta lamenting her lost future is what made this episode one of my favorites. It offers a new perspective for what the native species of a planet may feel when confronted with the “alien” humans. Still, I can't help but spare a thought for the salt-creature of "Man Trap", and even the Gorn in "Arena", who also may have felt the same sense of existential anguish.

Five stars.

FUTURE IMPERFECT


by Joe Reid

I love and enjoy a good sci-fi story. I am a lover of the works of Mr. Robert Heinlein and other masters like him. In the pages of a good sci-fi book you have fantastical worlds and brave people that are navigating those worlds for the adventure, to save those they care for, and to just plain do what is right and honest. Good sci-fi is so unlike our present world, where the strong, by hook or by crook, take what doesn't belong to them for the benefit of some high and mighty master who already got more scratch than a dog with fleas. Scratch stands for money, for those of you unfamiliar with street lingo.

So this episode comes along and reminds me a little too much of the world we live in. It starts off underground on a planet with the cleanest looking miners I ever laid my eyes on. They have a problem. Something is stopping the means of production of whatever it is that these miners in their all too clean jumpsuits need to mine. That problem is these workers are dying for some reason. Notice that it takes 50 of these men dying before the corporate bosses do something about it.


"You'll be just fine… Bob, was it? Ah, who cares?"

What do their bosses do about it? They do what all big money types do. They send in a fixer to make the problem go away. In comes the crew of the spaceship Enterprise. Their leader Captain “Jim” Kirk shows up and it is pretty obvious early on that all he cares about is making sure that the miners get back to producing. It doesn't matter that there’s 50 men fewer to do the work they were doing before. Money is money!

For almost all of the episode, Kirk is single-mindedly focused. Getting those space rocks moving is more important than anything else. So much so that when we learn that the creature that is killing the miners is a new form of life never seen before, Kirk would rather eliminate it than try to communicate with it. Dr., or Mr. Spock (I get confused about which is right) tries to stop him from killing the creature, but it is to no avail, as the call of space dollars drowns out any call to “seek out new life and new civilizations”. Kirk cruelly dismisses the concerns of his friend and pulls rank on him to force compliance out of the creature. So much for friendship huh, Jim?


"I'm right behind you, Spock."

In the end, it appeared to the viewer that Kirk had a change of heart and started to care about something other than money. He then uses Mr. Spock to talk to the creature, putting Spock at personal risk. For what? So that Kirk can save the creature? Bring back the dead miners? Nope! Having discovered that the creature was smart and didn’t want its species to be killed off, Kirk understood that he could use that fear to make even more money for the corporate interests that he works for. Thinking just like the greedy men of our world, and crushing any hope that the future will be a better place for any of us.

[I'll also note a striking thing Joe said after the episode: "Everyone's happy. The natives work for free, and in return, they get to keep their lives." One wonders if the Horta would have been preserved had they not been such good miners… (ed.)]

Before ya’ll get too upset with me, I know, this is just a TV show. It isn’t real. I'll tell you what though. Things we see on TV and read in paperbacks might very well be real. Only, not just yet. It is the kind of real that we hope to see someday. The kind that we will make happen in time.

And that's why I didn’t care much for this episode of Star Trek. Instead of providing a hopeful vision of the future, I just got to see the same kind of motivations that leap up at me from the pages of newspapers. I hope that the creators of this show can offer me something more hopeful in other episodes. If Star Trek keeps looking like downtown Detroit, where big corporate bosses only care about profits and send their stooges to enforce their desires, I fear that there may not be much future for this picture of the future.


Friendly interaction in Kercheval, Detroit, last summer.

3 stars

A Vulcanian’s Best Friend


by Abigail Beaman

If you were to ask my opinion about Gene Roddenberry's Star Trek, I would of course start gushing over how much I love the cast and concept of the show. It has to be one of my favorite programs that I sit down and watch regularly. Each character has a unique personality that sets him and her apart from each other, so much so that I can remember their names.

While Captain James T Kirk is charismatic and headstrong, Doctor Leonard “Bones” McCoy is cantankerous and hot-headed; but no one stands out as much as Mister Lieutenant Commander Spock. The reason is simple: he is half-Vulcan(ian?), an alien race whose members either lack emotions or repress said emotions. Due to his half-Vulcan side, Mister Spock is best described as a logical, calm, and stoic computerized man. And while it seems he gets along with most of the crew, despite his emotionless stature, there seems to be just one person that Spock truly cares about on the Enterprise. That man of course is Captain Kirk.

How do I reach this conclusion? Well, simply the only time Spock seems to break his stoic behavior and disregard any morals he has (without the aid of a certain flower’s spores) is when Kirk is in trouble. This episode shows just how deep the relationship runs between the half-Vulcan scientist and the charismatic human captain.

At the start of the episode, Spock makes it clear that he doesn’t want to kill the Horta, as he believes it to be the last of the species, a reservation he expressed in "The Man Trap", too. Spock in other episodes also has demonstrated that he values life above all else. It seems that preserving life is a moral of his and to break it would be like him breaking his stoic, Vulcan behavior. Even when Kirk tells the security team that they are to kill the Horta on sight, Spock disregards this direct order and tells the team to try to keep it alive if possible.


"Spock, what did I just say? Kill, not capture."

That is, until Kirk is at the Horta’s mercy. Spock’s opinion of the situation changes entirely: he tells Kirk to shoot it, to kill it before it kills him. The fear that Spock displays not only in his voice but also his movements clearly paints a picture, that Kirk is someone Spock cherishes greatly. Spock runs down the cave to save his friend only to find out Kirk has had a change in heart. Spock was not only ready to kill the Horta, but to sacrifice his own morals for Kirk. I don’t know about you, but the only time I would consider betraying my morals is for someone I consider a true friend, not someone who I work with.


"I'm quickening my pace, Jim!"

Clearly, the relationship between Spock and Kirk goes beyond that of just co-workers. It's a revelation that has been a long time coming, and a welcome one. Which is why I felt compelled to discuss it over any other aspect of the episode. That Spock sees Kirk as someone he cares about, enough to break his “Vulcanian cool” and morals to save, leaves me reassured. Maybe Spock can't be "happy", as he stated last episode. Nevertheless, even if Spock is an emotionless alien, he still can find a kind of companionship in his best friend, Jim Kirk.

Four stars.

Fighting Fire with Empathy


by Jessica Dickinson Goodman

I loved the twistiness of this episode. First Kirk wants to kill the Horta, then he defends it with not only his own life, but his crew's bodies. First it's a monster, then a mother. First Spock is his usual cool, emotionless self, and then he is screaming in pain as he connects himself mentally to the Horta. First the silicon nodules have "no commercial value" and then they become the hope of a new golden age of mining on Janus 6.


"Oooo, that smarts!"

Just like in "Arena," in "The Devil in the Dark" we are confronted with the colonial shortsightedness of Starfleet. Janus 6 is a "long-established colony" whose longtime colonists have somehow managed to miss an entire species of rock-dwelling creatures. Now, their 50,000 year breeding cycle might explain this, but stepping away from the specifics, it does remind me of modern failures of imagination, particularly in cases of colonial governments failing to understand the places they seek to control.

For example, the refusal of the U.S. Forest Service to use the wildfire management strategies that the Tongva Nation, Chumash Bands, and other peoples have used since time immemorial in what is now called California. Last November, this led to the tragic death of 10 hotshot firefighters in the Loop Fire near Los Angeles. Like the Horta, that wildfire burned hot and seemingly without reason; but wildfires, like Hortas, often have a logic of their own. The canyons that burned in the Angeles National Forest had been left uncleared for decades of misguided fire-suppression policies. When all of that mass had built up, of course it burned too hot and too fast to stop. The failure of the Janus 6 geologic survey team to find local life built up another kind of conflagration, one that killed 50. One hopes they won't make that mistake again.


The Loop Fire

Though we can't use Spock's Vulcanian skills to read the minds of wildfires, one of the beauties of science fiction is the hope that we might one day communicate with someone as different from us as blood and stone, or fire and water. The tension between what is and what could be, the twistiness as we get from here to there, is the fun of the genre, and this episode did a great job of letting us enjoy the ride.

4 stars.

In the next episode, Kirk and Spock go to the California Renaissance Faire. Come join us tomorrow at 8:30 PM (Eastern and Pacific)!.

Here's the invitation!

 



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Magazine, Science / Space Race, Science Fiction/Fantasy, Serial

[March 20, 1967] Vistas near and far (April 1967 Fantasy and Science Fiction)

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by Gideon Marcus

I see you!

We have now entered a phase of the Space Race where there's enough stuff in orbit that other stuff in orbit can take pictures of it.  Not just deliberate rendeszvous' like dual missions of Gemini 6 and 7, but snapshots of opportunity, like Gemini 11's photo of the Soviet Proton 3.

Last week, NASA released perhaps the most extraordinary example of this nature: the first snapshot of a spacecraft sent to the Moon…by a spacecraft sent to the Moon!  Lunar Orbiter 3, launched early last month, has been busily mapping our celestial neighbor, searching for the choicest landing spots for Apollo (whose first manned mission, I've just learned, has been delayed until next year due to the Apollo 1 fire.) In the course of its surveying, Lunar Orbiter 3 caught a glimpse of Surveyor 1, the first American soft-lander.  It all makes the Moon feel that much closer.

While the newspaper brings us tales of science fiction-made-fact, the stf mags continue to provide the visions of science-to-be.  The latest edition of The Magazine of Fantasy and Science Fiction offers several visions of the future: some poetic, some bleak, and some not really worth reading.  Good thing I'm here to tell you which is which, huh?

A pail of tomorrows


by Gray Morrow

Dawn, by Roger Zelazny

Lord Siddhartha, the Buddha, arrives as the capital for a bit of revelry.  There, he is greeted with honors, for he is a prince of this land, redolent with the smells of spice, the bustle of medieval commerce, the prayers of the devoted.  At first glance, Dawn seems as if it will be a pure fantasy in a richly drawn world.  But there are signs that underneath the veneer of ancient India lies a strictly scientific core.

Indeed, we learn quite soon that Siddhartha is actually Sam, one of the original colonists on this world, a planet whose technology has been deliberately restrained by the cabal of the Firsts and their lackeys, the Masters.  Their firm grip lies in their stranglehold on immortality, facilitated by their ability to transmigrate souls from body to body at will.

Sam wants to bring progress to the world.  Can he and his band of rebels undo the work of centuries?

Zelazny's latest novella is reportedly the first part of a longer work, to be titled "Lord of Light".  If it is as expertly rendered as this fine start, then it'll be a good read, indeed!

Four stars.

The Two Lives of Ben Coulter, by Larry Eisenberg

"The greatest disappointment of Ben Coulter's life was his inability to play the violin well."

So begins the tale of a fellow who turned instead to engineering for the purpose, failing to find it there until he co-developed a technique for the remote control of a living being.  Perhaps, at last, he could program mastery into himself.

Most science fiction authors take inspiration from the science news of the day.  Some, like Doc Smith, are actually scientists.  Larry Eisenberg is perhaps unique in the SF community for extrapolating a scientifiction application of his own invention, the remote controlled pacemaker.

His story, if not quite as personally affecting as his crowning scientific achievement, is a pleasant little piece, nonetheless.

Three stars.

Cloud Seeding, by Theodore L. Thomas

In this fictionless vignette, Thomas suggests combining cloud seeding with chemical distribution.  After all, if you're putting stuff in the sky to make rain, why not use fertilizer or poison of what have you.

Thomas forgets that the seeds for the raindrops are necessarily uselessly tiny.  I almost feel as though these little exercises are not to present interesting ideas, but are puzzles for the reader: spot the fallacy and win a hundred dollars!

Two stars.


by Gahan Wilson

Problems of Creativeness, by Thomas M. Disch

The 21st Century is an overcrowded, socialist paradise.  Everyone is on the childless dole, unless they can prove themselves exceptional, finish college, or join the guerrila forces.  Birdie Ludd, the least exceptional of young men, doesn't want to do any of these things.  But for the love of Milly, pretty enough almost to be a movie star, he was willing to endure almost anything.

Less a story and more a slice-of-life from the perspective of an indolent youth, Problems relies mostly on a vivid stream-of-consciousness style and copious use of the first profanity I've read within F&SF's pages.

Three stars, I guess.

The Sword of Pell the Idiot, by Julian F. Grow

Farquhar Orpington-Pell, late a subaltern in Her Majesty's Own Midlothian Dragoons, falls in with a Western doctor on the late 19th Century range.  Their crooked path takes them to a subterranean complex inhabited by aliens.  Things Happen.  Supposed-to-be-funny-but-just-tedious things, capped off by the rather insulting punchline that the transpirings inspired a much better, well known set of books.

Feh.  One star.

"Virtue. 'Tis A Fugue!", by Patrick Meadows

An advanced world refuses the entreaties of humanity to join a terran federation.  Professor Thomas Gunn, a musicologist, provides the key to reaching the hearts of the aliens.  Their language is the culmination of tonality, you see, each sentence its own song.  Our hyper-efficient, sound-codified speak was too declassé to appeal.

It's all a lot of "mun, mun" to me, and in any event, the revelation came out of nowhere.  Indeed, Gunn's story and that of the contact team are completely unrelated until he suddenly appears on the planet in the story's last scenes.

Two stars.

A Matter of Scale, by Isaac Asimov

The Good Doctor goes way out with his latest article.  You know those "the sun is a beachball, and the planets are various small fruit several hundred feet away" models you read in all the science books for kids?  He's decided to go one better, substituting atomic analogs so the distances can be more relatable.

I'm sure it was a fun exercise for him.

Three stars.

Randy's Syndrome, by Brian W. Aldiss

Lastly, another tale of the next, shoulder-to-shoulder, anti-utopian 21st Century.  The foetuses of the world go on strike, refusing to be born into such an awful place.  But is it really a mass strike of the unborn, happy in their womb world of racial memory and distorted, second-hand sensory inputs?  Or is it some kind of planetary neurosis of the mothers?

Whatever it is, it's not science fiction, more a modern myth.  Some might find it clever.

Two stars.

Under the Moon

After such a bright beginning, the April 1967 F&SF stumbles to a finish.  I recognize that science fiction is cautionary as well as aspirational, but I feel one needs to say more than "this future we're heading toward is gonna stink..and by the way, the future is now." 

The Zelazny is worth your time, however.

And, hey, at least the newspaper brings us pretty pictures!



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Book, Science Fiction/Fantasy

[March 18, 1967] From Both Sides of the Curtain (New Writings in S-F 10 & Path into the Unknown)

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by Mx. Kris Vyas-Myall

The House That Socialism Built

21 years ago this month, Winston Churchill gave his famous lecture “The Sinews of Peace” at Westminster College in Fulton, Missouri. Where he declared that:

From Stettin in the Baltic to Trieste in the Atlantic, an iron curtain has descended across the Continent…this is certainly not the Liberated Europe we fought to build up. Nor is it one which contains the essentials of the permanent peace.

The safety of the world requires a new unity in Europe, from which no nation should be permanently outcast.

Today Europe remains divided not just down the middle, but with the Northern states kept out of EEC, and right-wing dictatorships remaining in place on the Iberian Peninsula. However, so far warfare has remained largely absent from the continent and the debates within the Soviet Union do not seem all that different from those in Britain.

New council estate in Basford, England
New council estate in Basford, England

In the USSR, it has been announced 22 million people moved into new communal housing, but many of these higher paid workers are opting for new resident owned cooperatives instead. Whilst in England council house building has reached its highest level at 364,000, but that has been equalled by the boom in private housing.

New Khrushchyovkas in Moscow
New Khrushchyovkas in Moscow

Yet even with all this house building too many ordinary people have trouble getting a decent place to live. In Russia the necessity for putting up so many “Khrushchyovkas” is due to housing having been so poor for so long. In a survey in 1957, only 1% of the structures in Leningrad were given the highest rating by building inspectors, with more than half given the lowest. Whist in Kiev over 70% were given the lowest rating. In the UK the problem of the current housing crisis is perfectly illustrated by the harrowing recent film, Cathy Come Home.

Similar debates seem to be taking place in other areas, whether it is in as wages, healthcare and food prices. More and more it seems that sabre rattling and arguments over the best system of government are not dominating the headlines but, instead, how best to balance equality and pragmatism in the different economic systems.

With this alignment between the countries seemingly appearing, it is worth comparing two new anthologies, one from the UK and the other of writers from the USSR:

New Writings in S-F 10

New Writings in S-F 10

Carnell does not cite a theme for this collection, instead talking about breadth of ideas on display. For me, however, these all seem to be dealing with perspective and the nature of reality in some form. Unfortunately, these are not the best examples of this type of work.

The Imagination Trap by Colin Kapp

This is a sequel to Lambda One (which was also adapted for Out of the Unknown’s most recent season) where we get to see Bevis and Porter work on a new problem in Tau Research. Apparently not put off by the problems they encountered last time, a project is going ahead for “Deep Tau”, to use the same principle used to travel through inter atomic space within the Earth, to allow for a form of interstellar travel.

After last time, why would they agree to an almost suicidal trip into Deep Tau? On the Lambda II no less? Because of the titular 'imagination trap', which says that an expert in a field will always be compelled to follow a problem, no matter how dangerous to themselves. This kind of logic is the sort of thing which annoys me about this story, it continues to throw scientific mumbo-jumbo and ideas at you for almost 50 pages that don’t actually hold up to any scrutiny and expect you to go along with it.

My esteemed colleague Mr. Yon liked the original story significantly more than I did so there is clearly a market for what Colin Kapp is trying to do. But for me I will only give it two stars.

Apple by John Baxter

As a result of an unspecified war, all humans are now really tiny. Billings is a Moth Killer who goes into the tunnels inside an apple to slay the insect.

These kind of perspective stories have been with us throughout science fiction’s existence. From Voltaire’s Micromegas, through A. Bertram Chandler’s Giant Killer to Doctor Who: Planet of the Giants. And whilst this is very descriptive, I don’t see what this adds to the millions of other tales of this type.

Two Stars

Robot's Dozen by G. L. Lack

Unfortunately, G. L Lack continues to live up to their name with another disappointing story. In epistolary mode, we learn that Arthur Willis of Bath hires a robot duplicate of himself to watch his house whilst he is on holiday. The robot apparently takes to staring at the neighbours and so Arthur is forced to hire the robot again to prove it was not him. However, the robot rather insists on staying.

An obvious tale where the ending can be seen coming from the first paragraph.

Two Stars

Birth of a Butterfly by Joseph Green

For a century, humans have been exploring the galaxy trying to find intelligent life without success. However, it is a child travelling with his parents that discovers a unique form of intelligent life, small sentient stars that seem to resemble butterflies.

This could easily have been unreadable, but it ends up being a fascinating look at first contact with a totally alien form of intelligence and a rather sweet set of family dynamics. If nothing else, a definite relief after the first half of this anthology.

Four Stars

The Affluence of Edwin Lollard by Thomas M. Disch

Mr. Disch’s recent trip to England certainly seems to have been a success in terms of sales, for here is yet another tale from him appearing in a British publication. Unfortunately for us, this is not one of his best.

We follow the trial of the titular Edwin Lollard, who has fallen in love with the idea of poverty and a simple life of reading. However, in an affluent society obsessed with consumption this is hard to achieve and has to go to great lengths to try to get it.

This is the kind of dystopic satire I would expect to read a decade ago. You can see echoes of it in Brave New World, The Midas Plague, Fahrenheit 451 and a dozen similar works. The twist in the tale and courtroom proceedings aren’t bad but I cannot give it more than two stars.

A Taste for Dostoevsky by Brian W. Aldiss

Always a delight to see something new from Aldiss as, even if not successful, it will usually be different. This is a very strange type of time travel tale where someone seems to be jumping between different bodies throughout history or into alternative histories. Or possibly he is just an actor getting so involved in his roles he cannot determine the difference between fact or fiction?

This is certainly interesting, but I am also not sure what to make of it. Possibly if I was more a fan of Dostoevsky and familiar with the Freudian analysis of the texts that it seems to draw from I would possibly understand better what Aldiss was trying to say. Add into that that his attempts to explore ideas of race in it end up coming off as clumsy rather than profound, it ends up being a more middling tale to me.

Three Stars

Image of Destruction by John Rankine

Dag Fletcher first appeared in the opening two volumes of New Writings, but his subsequent adventures have been published in novel format. This picks up some time later in the series where Dag is now the chairman of Northern Hemisphere Corporation and is doing more work from behind a desk. The Interstellar Three-Four, captained by Neal Banister, is sent to Sabzius, a planet where the Commissar has recently disappeared. In order to oversee the situation, Dag heads to Sabzius with a skeleton crew.

This is 47 pages long, but it felt to me like 300. The prose was like wading through treacle and the story just kept dragging on. This could have been the kind of tense political thriller I enjoy but it didn’t go anywhere interesting and I failed to see any point to it.

I found the original stories dull and old fashioned so have not bought any of the continuing tales. This has not changed my opinion on this series.

One Star

So not such a good score from the capitalist society. Let’s see if the communist one can do any better:

Path into the Unknown: the best Soviet SF

Path into the Unknown: The best Soviet SF

The Conflict by Ilya Varshavsky

In a society where intelligent robots are employed as nannies, Martha feels threatened that her son Eric seems to prefer the robotic helper Cybella.

This is the kind of satirical vignette you would see as a space filler in F&SF. Add in that it is all layered with messages about a woman’s role and maternal instincts, and I found this to be a very poor start to the anthology.

One Star

Robby by Ilya Varshavsky

Another android tale from the same author. Here the narrator relates how he was given a self-teaching robot, Robby, on his fiftieth birthday, which he tries to use for household chores. However, it proves too literal minded for the tasks, cleaning shoes with jam if not given exact Cartesian coordinates or being unable to divide a cake into three because of recurring decimals. As Robby learns more about humans, he becomes increasingly difficult to live with.

This is a slightly longer story than the previous piece but no better. It is an incredibly simplistic machine logic narrative, more one I would expect in a children’s comic strip than as a piece of adult science fiction.

One Star

Meeting My Brother by Vitaly Krapivin

Three hundred years ago the Magellan photon space cruiser, captained by Alexandr Sneg, set off for another star system hoping to find an earth-like planet. They were never heard from again and assumed to be lost.

One of Alexandr’s descendants, Naal Sneg, is an orphan who sees the ship returning. With time only passing at one tenth the speed in cosmic space, Naal hopes to meet his ancestor and gain a brother he never had.

This is a slow meditative story, told in multiple parts, covering different facets of the tale to uncover the whole truth. I really liked it, if Robby feels like a story from a children’s comic, this feels like a strong novelette from Impulse.

Four stars

A Day of Wrath by Sever Gansovsky

A secluded laboratory developed a new kind of creature, the bear-like Otarks. They have a high degree of logic and intelligence but lack compassion, so will think nothing of attacking children, if the risk is not high, or just eating each other when hungry. Journalist Donald Belty is sent to investigate these creatures and to see whether they qualify as human.

This is an odd story. It is quite an engaging piece as it goes along but I struggle to understand quite what the point of it is. A criticism of unfeeling science, a satire on capitalism, or just a supposition extrapolated out? Whatever it is, the ending left me feeling quite uneasy and I am not sure if the author intended that or not.

A low three stars

An Emergency Case by Arkady Strugatsky & Boris Strugatsky

The Strugatsky Brothers will be familiar to long time journey readers as we have covered their material twice before. This is first of two tales dealing with alien life.

After dropping off supplies to Titan, Victor Borisovich discovers a fly on board their ship. Initially the crew are uninterested but when Malyshev, the ship’s biologist, recognises it has eight legs he realizes it is an undiscovered extra-terrestrial life form. Soon, though, the ship is overrun in these flies which seem to be resistant to insecticide. Can they contain or destroy them before the crew runs out of air?

Once you accept the unlikely life form they encounter, it is quite exciting monster science story that reminded me a bit of Vogt's Space Beagle tales. What lifted it up more is the excellent character work done, where each of the scientists has their own personality and are believable individuals in a small space of time.

A strong three stars

Wanderers and Travellers by Arkady Strugatsky

This is predominantly a conversational piece. Stanislav Ivanovich and his daughter Masha are marking Septapods, a type of freshwater cephalopod, with a supersonic tracking device to try understand their behaviours. They meet an astro-archaeologist, Leonid Andreevich, who tells them about the problem of “the Voice of Empty Space”, an impossible sound that is picked up by auto-wirelesses on space voyages.

I feel like there are some interesting ideas touched on here, but it doesn’t really go anywhere, except to suggest that the universe is perhaps illogical and unknowable. If that is the point, I believe it could be presented in more interesting ways than as a trialogue.

Two Stars

The Boy by G. Gor

A surprisingly intelligent schoolboy named Gromov writes the stories of the sole child on a long interstellar voyage. When these are read out to the class, all the other students highly entertained by them, but are they just fiction? Or do they have some connection to his father’s discoveries of alien artifacts.

This is an incredibly complicated piece of fiction involving narratives about narratives, theoretical physics, music, identity and perspective. And yet, it is also a story of friendship, where two lonely children form a bond. Really impressed with this and I hope more works from this author are translated soon.

Five stars

The Purple Mummy by Anatoly Dnepov

An interstellar signal has been decoded and used to reconstruct what appears to be the body of a woman albeit all in purple. The head of the Museum of Regional Studies in Leninisk comes to Moscow and shows the team holding the mummy that (apart from the colour) it is the mirror image of his wife. This appears to prove the theory that this signal came from a mirror universe of anti-matter, and it may also contain the secret of how to save his wife’s life.

As you might expect from the title, this reads like one of reprints from the Gernsback era you might find in Amazing or Famous these days. Even discarding how nonsensical it all is, no one’s reactions felt realistic to me and the plot with the illness is poorly handled.

One Star

Two systems, similar problems

Brezhnev Dancing
Brezhnev, dancing for joy at Soviet success

Whilst this represents an overall win for Soviet architecture, in this case, both collections have their highs and lows, and there are definite areas for improvement. We will have to see if the next releases from either the UK or the USSR can build better structures.



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Book, Science Fiction/Fantasy

[March 16, 1967] A Matter of Life and Death (Why Call Them Back From Heaven? by Clifford D. Simak; Tarnsman of Gor, by John Norman)

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[Two VERY different books for you today on the Galactoscope…]


by Victoria Silverwolf

Wonder Stories From Wisconsin

Science fiction readers hardly need an introduction to the works of Clifford D. Simak. Born in Wisconsin in 1904, and working for the Minneapolis Star newspaper since 1939, he published his first story, The World of the Red Sun, in Wonder Stories in 1931.


Getting your name on the cover with your first story is quite an achievement. Art by Frank R. Paul.

His best known work may be City (1952), a book consisting of eight linked stories. It won the International Fantasy Award that year.


Cover art for the first edition by Frank Kelly Freas. There have been many other editions since.

He also won the Hugo Award for Best Novel with Way Station (1963), serialized in two parts in Galaxy as Here Gather the Stars.
(The Noble Editor gave the serialized version a mediocre three star rating. I read the book version and loved it. Chacun son goût!)


Cover art by Ronald Fratell.

Simak has a reputation as a gentle, humane pastoralist. His stories often celebrate nature and the outdoors, particularly the wilds of Wisconsin, and show compassion for all living beings. His latest novel displays this side of his character, to be sure, but it also has a darker, pessimistic mood that may not be as familiar to his readers.


Here's the author with his Hugo, looking just as friendly and optimistic as you'd expect.

Cold War


Cover art by Robert Webster.

In the year 2148, society is dominated by the Forever Center, a private company whose headquarters are located in a mile-high skyscraper. Their function is to store the frozen bodies of the recently deceased, in order to revive them into young, healthy, nearly immortal bodies in the near future. The catch is that they haven't quite figured out how to do this yet.

(If this reminds you of a proposal made by R. C. W. Ettinger, and discussed in a few issues of Worlds of Tomorrow, go to the head of the class. Simak explicitly mentions Ettinger in the novel.)


R. C. W. Ettinger. He also published a couple of science fiction stories some years ago.

In the real world, freezing people in the hope of reviving them has already begun. James Hiram Bedford, a professor of psychology, died on January 12 this year. His body was immediately chilled far below zero and placed in storage.


Bedford's body is injected with dimethyl sulfoxide, as part of the preservation process.

Nobody yet has the slightest clue about how to bring people like Bedford back to life. Besides that little technical problem, there's also the dilemma of where to put all these people when they're thawed out, if this process ever gets under way big time. Simak addresses that very issue.

The novel says there are about one hundred and fifty billion frozen corpses by the middle of the 22nd century, and a world population of one hundred billion! That seems very hard to believe, but it's a minor quibble. Simak tell us that food is provided through some kind of matter transformation rather than farming, so maybe that explains, to some extent, the gigantic population.

Humanity has achieved interstellar travel, but has not yet found livable planets for the huge number of expected revived folks. One possibility is terraforming these hostile worlds, but obviously that's going to be very difficult.

Another strategy, even more implausible, is to invent time travel, and send these people back millions of years into the remote past. The brilliant mathematician who is working on this problem vanishes, providing an important subplot.

The third suggested method, and the only one that seems remotely possible to me, is to cover the Earth with gigantic buildings, each one the size of a city.

Do you get the feeling that the Forever Center didn't really think things out too well? I believe that's part of Simak's satiric point, that the practicalities of freezing and resurrecting the dead have escaped those who are promoting it.

Despite these difficulties, the Forever Center virtually rules the world. People avoid risks and minimize spending, in order to have some wealth in their new life. Most people have transmitters near their hearts, so that when they die, rescue teams rush to carry their bodies into cold storage. Some people even choose to die, rather than wait for the Grim Reaper, in order to save money and make sure they're frozen safely.

The only folks who object to the Forever Center are the so-called Holies, who believe that humanity is giving up the hope of spiritual immortality for the promise of physical resurrection. The Holies are the ones who provide the book's title, writing that phrase on walls as a protest slogan.

A Man Alone

The protagonist is Daniel Frost. (An appropriate name!) He works in the public relations department of the Forever Center. A shady part of his job, which is not even known by his boss, is to exert a subtle form of censorship on the media. Anything that might make the company look bad is suppressed.

By sheer accident, Frost obtains a document that exposes corruption within the Forever Center. He doesn't even know what the document means, but it makes him the target of the company's head of security. Frost is knocked out and dragged into a kangaroo court, where he is convicted of treason to humanity, and given the second most dreaded punishment in the world.

(The worst punishment is to have your right to freezing and resurrection taken away. This happens to one of the novel's secondary characters, just because a mechanical breakdown of his vehicle prevented him from taking a dead person to the storage facility in time. His lawyer, who unsuccessfully tried to defend him against the judgement of a computer jury, becomes the protagonist's ally. She also serves as the love interest. Fortunately, Simak handles the romantic subplot in a more mature fashion than some writers.)

Frost is ostracized. Three circles are tattooed on his face, to warn people that they are not to have any relationship with him at all. (This is what gives the book its rather abstract cover image.) He is doomed to scavenge what food he can from garbage cans, and find shelter in ruined buildings.

(This part of the novel reminds me of Robert Silverberg's excellent story To See the Invisible Man, from the first issue of Worlds of Tomorrow.)

This portion of the book reads like one of Keith Laumer's more serious action/adventure/chase novels. Frost eventually winds up at a farm, now abandoned, where he vacationed as a boy. In what struck me as a wild coincidence, the missing mathematician — remember her? — happens to be there as well. She reveals a discovery that changes everything.

Although there's a happy ending for the main characters, with the good guys winning and love blooming, the book ends on a somber note. A fervently religious hermit provides the novel's last lines, and they aren't very hopeful.

The main plot is interrupted by chapters dealing with minor, often unnamed characters. These provide the reader with more details about this future world, and how the people in it react to the promise of physical immortality. There's a priest who has a crisis of faith, because he's chosen to be frozen and revived. There's an author who's written a carefully researched book exposing the Forever Center, but who can't get it published.

In addition to a traditional suspense plot, Simak provides philosophical musings about death and immortality. Although he's clearly on the side of the Holies, he avoids making things black and white.

I could quibble that parts of the story are implausible. (In a world with such a huge population, there are still tracts of unspoiled wilderness.) Some science fiction themes seem out of place. (The mathematician gets her inspiration from ancient alien records.) Overall, however, it's a thoughtful and serious book, well worth reading and pondering.

Why Call them Back from Heaven gets four stars.


by Cora Buhlert

A Ponderous Professor Among the Barbarians: Tarnsman of Gor by John Norman

Tarnsman of Gor by John Norman

During my last visit to my trusty local import bookstore, the trusty paperback spinner rack yielded a book that looked promising. I had never heard of John Norman nor did I have any idea what a Tarnsman is or where Gor is, but the blurb on the back promised an Edgar Rice Burroughs style adventure on an unknown planet.

I took the book home and eagerly cracked it open, only to find myself faced with a lengthy and very dull opening in which our narrator, one Tarl Cabot, holds forth about the origins of his name (from the Italian, though his family hails from Bristol), his family history (father vanished, mother dead), his education (Oxford, naturally) and his position as a professor of English history. The diction and plodding pacing are more reminiscent of justly forgotten Victorian novels than of a thrilling adventure tale.

Frustrated by the demanding duties of a college professor such as grading term papers, Cabot goes camping and finds a glowing envelope with his name on it on the ground. Inside, Cabot finds a signet ring as well as a letter from his missing father. Shortly, thereafter a spaceship arrives and whisks Cabot away to the planet Gor, which shares the orbit of Earth but sits on the opposite side of the sun, rendering it indetectable. The similarities to Mondas from the Doctor Who serial "The Tenth Planet" are notable, but likely a case of both stories drawing on the same discredited cosmology.

Cabot learns all this from his estranged father, who seems genuinely touched to see his son, only to immediately begin lecturing him on the history and society of Gor, on the importance of Home Stones and on the all-powerful Priest-Kings who may be aliens or gods. Of course, neither Cabot nor we have seen anything of Gor yet, so we have no reason to care about Home Stones or Priest-Kings. The dialogue is stiff and unnatural and the lecture portions read like a particularly dull college textbook. John Norman is apparently the pen name of a professor of philosophy, which explains a lot.

Tarl Cabot spends the next few chapters learning about "the history and legends of Gor, its geography and economics, its social structures and customs, such as the caste system and clan groups, the right of placing the Home Stone, the Places of Sanctuary, when quarter is and is not permitted in war" and sadly, so must the reader. The one bit of all this lore that will be relevant later is that Gor has a rigid caste system and practices slavery. As a man of the Sixties, Cabot is horrified by both.

Slaves, Chains and Adventures

The story picks up when Cabot is initiated into the warrior caste and given a tarn – a giant bird of prey – to ride. Cabot is also given a mission, to steal the Home Stone of the rival city Ar. Unfortunately, this raid will also cost the lives of two women, the slave girl Sana and Talena, daughter of the warlord of Ar. Cabot is not happy with this either.

He frees Sana and returns her home, manfully resisting her offer of some very physical gratitude. Then Cabot flies off to steal the Home Stone of Ar. He manages to acquire the stone as well as an unwanted hostage in Talena, who clings to the saddle of his tarn in an attempt to save the stone. Talena succeeds and manages to hurl Cabot from the saddle. He is saved by an intelligent, talking giant spider in one of the few surprising twists of this tale.

Talena's triumph does not last long. The tarn dumps her and takes off, carrying the Home Stone of Ar with it, leaving Cabot to deal with Talena, who alternately needs to be rescued and tries to kill Cabot.

The story now settles into the pattern of capture, deathly peril and escape familiar to readers of Edgar Rice Burroughs' Barsoom books and similar fare. With the Home Stone gone, the people of Ar turn on the warlord and want to execute his entire family, including Talena. So Cabot and Talena are stuck with each other now.

To avoid recognition, Cabot pretends to be a wandering warrior and passes off Talena as a new slave he has captured. They join a merchant caravan and prickly Talena becomes more submissive, as she falls for Cabot, who returns the feeling.

Compared to the barbarians of Gor, Cabot views himself as an enlightened man of the twentieth century. That said, his relationship with Talena and the focus on hoods, shackles, collars, leashes, whips and stripping her off her garments is unpleasantly reminiscent of the less savoury entertainment found in certain bars in Hamburg's famous redlight district St. Pauli. The phallic implications of the Goreans' favourite execution method impalement cannot be ignored either. Robert E. Howard's Conan, who actually is a barbarian, treats his female companions with far more respect than Tarl Cabot.

Night clubs on Große Freiheit in Hamburg's famous redlight district St. Pauli by night
Night clubs on Große Freiheit in Hamburg's famous redlight district St. Pauli by night
Jungmühle Hamburg
Jungmühle's Hippdrome in St. Pauli, where you can ride horses and donkeys and camels and watch naked ladies wrestling in the mud.
St. Pauli by Day
St. Pauli's famous Reeperbahn is not quite as enticing by day, though these youths protesting the war in Vietnam in front of a topless bar are causing quite an uproar.

The novel ends, as such stories must, with Tarl Cabot uniting the warring cities of Gor. He rescues Talena from execution, marries her and finally does what has only been alluded to so far. Then… Cabot wakes up in New Hampshire again, even though there is no reason for this except that the same happened to John Carter.

Just Read Burroughs

The parallels to Edgar Rice Burroughs' A Princess of Mars are obvious. But even though A Princess of Mars is already more than fifty years old, it offers more adventure and entertainment than Tarnsman of Gor.

A Princess of Mars by Edgar Rice Burroughs

Once the story gets going, it's fun enough, though not up to the standards Burroughs, let alone Robert E. Howard or Leigh Brackett. But the entire first third of the book is devoted to endless lectures. Even in the later portions, Norman interrupts a scene where Cabot is about to be executed in some awful way by having him discuss philosophy at great length with the villain who just sentenced him to death. Maybe Cabot tries to escape by boring his executioners to death, but given how otherwise earnest this novel is, I seriously doubt it.

Rating this book is difficult. On the one hand, it is less ridiculous than Lin Carter's The Star Magicians. On the other hand, The Star Magicians was also highly entertaining, while large stretches of Tarnsman of Gor are just dull.

One and a half stars



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Magazine, Science Fiction/Fantasy, Serial

[March 14, 1967] Family Matters (April 1967 Amazing)

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Today is the LAST day you can nominate for the Hugos.  Please consider voting for Galactic Journey for Best Fanzine.  And here are all the other categories we and our associates are eligible for this year!


by John Boston

The April Amazing splashes an impressive array of marquee names on the cover: Hugo winners Frank Herbert and Philip K. Dick, the well-remembered sardonic satirist William Tenn, and Richard Matheson and Jerome Bixby, famous not only from the printed page but from celebrated Twilight Zone episodes made from their stories.  The once prominent David H. Keller, M.D., is relegated to the inside of the magazine.


by Frank R. Paul

This blaze of celebrity serves to distract from the cover itself, which looks like it emerged from one of Frank R. Paul’s off days, though that is partly the fault of the present editorial regime; the picture is drastically cropped from its first appearance on the back cover of the July 1946 Fantastic Adventures, where it was considerably more impressive, though still far from the artist’s best.

This is one of the magazine’s accidental theme issues; I can’t speak for the serial yet, but the majority of the short fiction is at least partly preoccupied with domesticity, its meaning and its travails.

The Heaven Makers (Part 1 of 2), by Frank Herbert


by Gray Morrow

Frank Herbert’s The Heaven Makers is a two-part serial, and as usual I will wait for the end before commenting.  The blurb says it “offers the chilling hypothesis that all the world really is a stage with each of us . . . its players.” How many times have we read that one?  To be fair, new ideas are scarce these days, and treatment is all; it’s not the meat, it’s the motion, as a salacious old blues song has it.  A quick glance at the first page reveals the dense and turgid writing for which Herbert has become known.  To be fair (again), his virtues sometimes take longer to announce themselves than his faults.

The Last Bounce, by William Tenn


by Henry Sharp

William Tenn’s The Last Bounce, from the September 1950 Fantastic Adventures, is a remarkably bad story for the writer who at the time was several years past the classic Child’s Play and whose almost as well-known Null-P was a few months away.  It’s a tale of stellar exploration, complete with mystery planet, deadly monsters, scientific mumbo-jumbo, and clichéd characters and dialogue.  There’s even an embarrassing spacemen’s anthem, which shows up more than once.  And domesticity (or its absence) rears its head!  There is considerable musing about Why Men Risk All to Brave the Unknown and Why Their Women Put Up With It and Wait for Them.  It would be nice to be able to read this as satire, but I can’t convince myself.  More likely, Tenn made a barroom bet that he could write the most hackneyed piece of tripe he was capable of and some editor would buy it.  You win!  One star.

A Biological Experiment, by David H. Keller, M.D.

David H. Keller, M.D., is here with A Biological Experiment, from Amazing, June 1928—his third published story.  The blurb says, correctly, that it anticipates 1932’s Brave New World.  (You know the one about tragedy and farce?  Here it’s the other way around.) Here is a veritable epic of domestic relations.  Like Keller’s first story, Revolt of the Pedestrians, this one posits an extreme departure from our natural (well, familiar) social arrangements followed by a drastic reaction and restoration of the traditional.  Unfortunately there’s entirely too much talk here, and the action that follows it is cartoonish.


by Frank R. Paul

In the far future everyone is sterilized at an appropriate age; marriage is “companionate,” easily terminable, and babies are made in factories and provided to couples who apply for and obtain the necessary permit.  But Leuson and Elizabeth, a couple of young rebels, want to go back to the old ways.  Why?  Because no one is happy!  Love has disappeared from the world! 

So says Leuson, towards the end of a seven-page monologue.  (Elizabeth says, midway through: “Tell me again why they are not happy.  I have heard you tell it before but tell me again.  I want to hear it out here in the wilderness where we are alone—together.”) Leuson has stolen some books from the Library of Congress, where he works, to learn the history and how to survive the old-fashioned way.  The happy couple elopes (a word Leuson discovered in his research) to live happily in a mountain cave, along the way capturing a goat to milk.  Unfortunately, far from modern medicine, Elizabeth dies in childbirth (good idea, that goat).  Along the way it has been revealed that this was a covertly sponsored rebellion; the couple’s parents have subtly nudged them along towards this destiny.

And now, the plan’s consummation, at the annual meeting in Washington of the National Society of Federated Women!  “Five thousand leaders of their sex had gathered for the meeting and every woman in the nation was listening to the proceedings over the radio.” Leuson appears, carrying a basket, and reprises his seven-page lecture.  “On and on he talked and as he talked there arose in the hearts of the women who listened a strange unrest and hunger for something that had once been their heritage.”

And at the end of this spiel . . . “He reached down into the basket and, picking up his daughter, held the baby high above the heads of the five thousand women and showed them a baby, born of the love of a man and a woman in a home.” The finale: “And as they marched down Pennsylvania Avenue, the women of the nation cried in unison: ‘Give us back our homes, our husbands, and our babies!’” Fade to black.

Whew!  Two overripe stars, barely.

Little Girl Lost, by Richard Matheson

Richard Matheson’s Little Girl Lost (Amazing, October/November 1953) is a capable potboiler, efficiently recycling with stock characters a stock plot of the 1940s and ‘50s—domesticity upended by the weird and threatening.  Young Tina disappears in her living room; her parents Chris and Ruth can hear her but not see her or figure out where she is.  What to do in the wee hours with an invisible child but call Chris’s friend Bill, “an engineering man, CalTech, top man with Lockheed over in the valley.” Bill quickly susses it out: “I think she’s in another dimension.” (Later, he adds, “probably the fourth.”) Meanwhile, in the spirit of the times, Ruth is more or less continuously hysterical.


by Ray Houlihan

And so is the dog, but to better effect.  He’s whining and scratching to be let in, and when he is admitted—to keep from waking the neighbors—he runs straight to the dimensional hole the people can’t see, and now little Tina has company.  Soon enough, Chris blunders partly into the hole, grabs kid and dog, and Bill pulls him out by his legs, which are protruding into our dimension.  Domestic tranquility is restored, and they switch the couch and the TV so if anything goes through again it will be Arthur Godfrey.  It’s facile and economical, and perfectly fashioned for TV; it made one of the better Twilight Zone episodes five years or so ago.  Three stars.

Small Town, by Philip K. Dick


by Bernard Krigstein

Philip K. Dick’s Small Town (Amazing, May 1954) is equally domestic, but not quite as domesticated, as the Matheson story.  Here, the strains of a bad marriage exacerbated by an oppressive job burst out into the larger world.  Verne Haskel doesn’t get along with his wife, hates his job, and finds comfort only in his basement, where, starting with an electric train layout, he has built a scale model of the entire town and tinkers with it constantly.  As his frustrations build, he begins tearing things out of his faithful representation and remaking the model town, culminating in ripping out Larson’s Pump & Valve, the site of his torment, stomping it to pieces, and replacing it with a mortuary.  And, of course, it turns out reality (or “reality”—this is after all PKD) now conforms to the fruits of Haskel’s tantrum—and things end with a suggestion (this is after all PKD) that there’s a higher power than Haskel keeping an eye on things.

Three stars, more lustrous than Matheson’s to my taste.

Angels in the Jets, by Jerome Bixby


by Paul Lundy

The issue winds up with Jerome Bixby’s Angels in the Jets (Fantastic, Fall 1952).  At least one person likes this story; Frederik Pohl anthologized it in his 1954 anthology Assignment in Tomorrow.  I disliked it when I read that book, and it hasn’t improved much since.  Intrepid space explorers land on an inviting planet; one crew member is inadvertently directly exposed to its atmosphere, which renders her psychotic; she contrives to expose everyone else; and the protagonist, who has been out exploring while all this was going on, returns to the prospect of living in isolation as long as his bottled air holds out, or giving up, joining the crowd, and becoming psychotic right away.  (Not much domesticity here, except for the hints of the deranged social order, or disorder, emerging among the psychotics.) A story that starts out at a dead end and consists of reaffirmations that it’s a dead end is not much of a story to my taste.  But at least it’s well written.  Two stars.

Summing Up

Hey, it's been worse in this bottom-of-the-market magazine.  We have pretty readable and competent stories by Dick and Matheson and an amusing bad period piece by Keller, balanced against lackluster pieces by Tenn and Bixby; and the brooding prospect of Frank Herbert at length looms over it all as final judgment is postponed.  Redemption?  Maybe. To paraphrase generations of disgruntled baseball fans: Wait till next issue.

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