Tag Archives: 1968

Magazine, Science Fiction/Fantasy

[July 20, 1968] Beloved Institutions (Orbit 3 and Famous Science Fiction #7)

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by Mx. Kris Vyas-Myall

Last month marked the 20th anniversary of the founding of the UK’s National Health Service. There are many issues with it, patients often wait for hours to see a GP, doctors trained by the service are regularly leaving for better paid work overseas, and many of the hospitals taken over from the private sector are in disrepair and not fit for the modern era.

Line of people queuing in a hospital from a BBC documentary about the NHS 1968.
Long hospital queues. A perennial issue

Many of the major issues come down to spending choices. There are continually new innovations coming out that are expensive to use. For example, would it be better to spend the money on the new dialysis machines, rebuilding hospitals or reducing staff to patient ratios? All are important but they cannot all be achieved.

Person lying in a hospital attached to a dialysis machine, from Tomorrow's World 1965.
Is it better to invest in new technology or more staff?

However, in spite of this, it has already become a beloved institution. There are few that want to go back to the system of voluntary hospitals and medical aid societies, and the principle of a health service free at the point of use is hugely popular.

Both of the publications I am reviewing this month are similar to the NHS in this manner. They may be relatively recent and not without their flaws but are still loved for what they do.

Orbit 3

Cover of Orbit 3
Cover by Jack Lehr

Much like its British equivalent New Writings in S-F, Damon Knight seems to have a stable set of writers to draw from, with 4 of the 9 authors in this issue having appeared in a prior volume.

Mother To The World by Richard Wilson
Martin Rolfe and Cecelia “Siss” Beamer appear to be the last survivors of biological attack on the US by China. Whilst Siss is devoted to Rolfe, she also has an intellectual handicap, and he grows increasingly depressed about his situation.

Yes, this is yet another “Last Man” story, the twist being that the lead here is an unpleasant creep. Maybe others want to read about domestic abuse and incest. I do not. Add on to that statements about being surprised that a “backward country” like China could develop powerful weapons (the same country that built a hydrogen bomb last year) and I found myself annoyed at the entire thing.

One star

Bramble Bush by Richard McKenna
We are told that McKenna’s back catalogue has finally been exhausted so this is the last of him we will see in Orbit, and it is his most baffling tale.

In a future where man has explored much of the galaxy, a team is dispatched to Proteus. This planet, in Alpha Centauri, has never been landed on, as every prior mission has mysteriously had to abort before arriving. After making landfall they encounter what appear to be primitive humans who they are unable to communicate with. But after these Proteans perform a ceremony, the world gets a lot stranger for the crew.

We are told this story “…deals with one of the most perplexing questions in relativity…If all four spacetime dimensions are equivalent, how is it we perceive one so differently to the rest? [Mckenna gives a] solution which involved the anatomy of the nervous system, symbology, anthropology, the psychology of perception and magic."

It is possible that is what the story is about. I was honestly utterly confused throughout.

Two Stars, I guess?

The Barbarian by Joanna Russ
Continuing the adventures of Alyx in this fourth installment of her tales. She is now 35 and back in the ancient world (I presume after the novel Picnic on Paradise as there is a reference to her disappearance) when she is approached by a mysterious powerful figure who offers her anything she wants for just one deed. To kill a future dictator who is currently only six months old.

Russ continues to impress with these adventures, finding ways to expand the world and offer new situations for Alyx to grapple with. Here the tables are turned on her somewhat, as she is now dealing with someone more powerful who looks down on her. How she navigates the situation is fascinating and reveals much more about her. Whilst I wouldn’t rate this quite as highly as the prior installments, it is still very good.

Four Stars

The Changeling by Gene Wolfe
A Korean war veteran returns to his hometown in the US. Everything seems much the same except for young Peter Palmieri, who has not aged. What is more, no one else remembers Peter as being alive back then. Is our narrator suffering from Gross Stress Reaction? Or is something stranger going on?

I found this a well-told story but also fairly obvious and not doing anything I hadn’t seen before.

Three Stars

Why They Mobbed the White House by Doris Pitkin Buck
Hubert is a veteran who has become frustrated with the growing complexity of completing his tax return, so he leads a movement to have them done by supercomputers. But will the machines be any happier with this state of affairs?

As I come from outside the US, the complexity of filling out their tax returns is such a mystery to me. Not only could I not relate, I found this silly and dull.

A low two stars

The Planners by Kate Wilhelm
In a large research facility, monkeys are being given pills to test if it will increase their intelligence, along with the intellectually handicapped and prisoners. Do they have the right to do this? And is this all that is going on?

This is another of the kind of story popularized by Flowers For Algernon. It has some interesting touches, but I don’t think it rises significantly above the crowd.

Three Stars

Don't Wash the Carats by Philip Jose Farmer
In this experimental vignette, surgeons find a diamond inside a person.

A couple of years ago I considered Farmer to be one of the best people writing SF, but he has recently gone off the rails. This is described as “a ‘polytropic paramyth’ – a sort of literary Rorschach test”. Well what I see is pretentious nonsense.

One Star

Letter To A Young Poet by James Sallis
In this epistolary tale, Samthar Smith writes to another young poet back on Earth about his life and works.

This is a pleasant little piece where a writer looks back on his life and ponders about it. There is not a huge amount to say about it, but it is enjoyable.

Three Stars

Here Is Thy Sting by John Jakes
It all starts when Cassius Andrews, middling journalist, goes to pick up his brother’s corpse and finds it missing. This sends him on a surreal journey involving an old WBI agent, a superstar singer and a mad scientist.

I found it fitting that this is the longest piece in the anthology but has the shortest introduction. It rambles on for pages without much there and I found the conclusion to be rather odd. I don’t see that if we could remove the fear of the act of death (not the ceasing to be, but the momentary pain) everyone would become melancholy and cease to have a purpose. If anything would that not make people more willing to take bigger risks? The one thing I will say for it is Jakes is able to spin a yarn well enough to keep me reading to the end.

Two stars…just.

Famous Science Fiction #7

Famous Science Fiction #7 Cover

This quarter’s cover is a detail of the cover from August 1929’s Science Wonder Stories by Frank R. Paul.

Science Wonder Stories August 1929

I have to say I find this Famous version much less effective. In a short article on the subject, it states that it is the first time a space station was illustrated on a magazine cover but adds some criticism for it seeming old fashioned, due to the lack of technical articles available to work from in the period. Interesting enough for what it is.

Men of the Dark Comet by Festus Pragnell
This story and the next are from the summer issues of Science Wonder Stories in 1933.

In a far distant solar system, a planet’s natural satellite had been set loose in order to escape a disaster from their sun. This “Dark Comet”, as it becomes nicknamed because it absorbs all light, eventually enters Earth’s system.

Heathcoate, the commander of the spaceship Aristotle, is rendered unconscious by the application of the Martian drug Borga. He wakes up on an out of control ship, his cargo gone and the only person left on board being a prisoner, the drug addict Boddington. Boddington is able to deduce Martian pirates were behind this, working with the native authorities to secretly build up their own space fleet.

Crossing paths with the comet, they manage to effect a landing. Inside they find themselves among a species of alien “Plant-Men”, Boddington hopes to stay and learn more, Heathcote wants to return to Earth to warn of a potential Martian invasion.

Two men attached to strange apparatus by the plant men
Art by Frank R. Paul

Whilst I am not opposed to slow starts in fiction, this novella is glacial. So much irrelevant detail is included it is hard to get a grip on the central plot for some time. It includes some interesting elements, such as Martians having three sexes for reproduction and an interplanetary drug trade, but mostly it is irritating. At the same time, the Martian invasion plot feels cliched.

What is interesting enough to raise it up are the attempts to communicate with the plant creatures. Pragnell does a good job of making them seem truly alien, with contact taking place via the electro magnetic spectrum.

A very low three stars

The Elixir by Laurence Manning
We now come to the conclusion of the five part Man Who Awoke saga. To quickly recap for the unfamiliar, Norman Winters developed the means of putting himself to sleep for thousands of years and has been waking up further and further in Earth’s future. At the end of the last story we learnt that Winters has set his device to wake him up in the year 25,000, but that Bengue has also decided to duplicate his process and follow him.

After awakening and traversing the wilderness, Winters finds himself in the laboratory of Ponceon. As luck would have it Ponceon has been developing an elixir of immortality. Now he is able to travel into the future without sleep, instead he can live through the millenia himself.

These advancements are possible due to the development of voluntary social contracts across mankind, stating they will not force any person against their will and to never refuse anyone help. Colonies now exist on Mars and Venus, machines can convert any raw material into products and currency has been abolished, with workers simply sharing new inventions for the common good.

Now able to use the process to explore the universe, humanity spreads away from the Solar System. Winters joins the disciples of Calcedon, who live on a far-off planet searching for the meaning of life. There they work on trying to use the Temples of Thought to understand the nature of creation.

Person watching a group of people in a round domed hall where many people are in there, attached to domed caps who in turn connect to a large device.
Art by Frank R. Paul

This is a more sedate story. Any moments of conflict are solved quickly, instead we are simply meant to explore this utopian world we find ourselves in, and hop between locations and philosophical musings. However, it manages to avoid being dull.

Bengue’s appearance is an odd one. A big point is made of it in the prior story but here he turns up for a single paragraph where we are merely told:

…he had awakened a few months after Winters had left Earth and had actively been engaged on some breeding experiments ever since. The two spent a year and a half together and finding they had nothing of real interest in common, separated by mutual consent.

I can’t help but wonder if something was cut or if there was another story that was never published.

Not as strong as some of the other parts but a satisfying conclusion.

Four Stars

Why Bother With Criticism by R. W. Lowdnes
Another of Lowdnes’ editorial essays, this time looking at reading for fun vs art and looking at how criticism can be mind-expanding. It is an incredibly kind and well thought out section, with some standout parts such as:

When someone proclaims that something you have enjoyed is inferior…you will want to defend it. Because if something you enjoyed…is proclaimed inferior or bad, then there is an implication that you are a person who enjoys the inferior, enjoys trash – so there must be something wrong with you. If you are secure enough in your own estimation of your worth as a person so that you can shrug off such implications…then you might even acknowledge that a particular story is not great art…and let it go at that. Or others might be wrong, but your own security will not require you to produce defensive reactions. It is the insecure person, who has serious doubts about himself who has to be excessively defensive…under such conditions.

Advice I wish I was able to follow more often. Highly recommended for every reader.

Five Stars

Away From The Daily Grind by Gerald W. Page
In the first new story in this issue, Mr. Federer wants a way to hide away from civilisation and is put in contact with Mr. Parkhurst, but what does the deal entail?

Unlike the rest of this issue, I found I would completely forget this story after finishing it. It is not badly written but inconsequential and built around a bad pun.

Two Stars

The Fires Die Down by Robert Silverberg
This is a bit of a rarity. Not a new piece but one from Silverberg’s absurdly prolific period in the 50s, previously published in Britain in the much missed Nebula magazine.

Cover of Nebula Science Fiction #21

The Thanians, a multi-galactic civilisation, have come to colonise Earth. Finding a low technology civilisation on a sparsely populated planet they expect to be worshipped as Gods. To their surprise humanity has given up this kind of imperialism millenia ago and are simply unbothered by their visitors. What could have happened?

What a wonderful surprise, I do recall some of Silverberg’s efforts in the British magazines but this one was not in my collection. It goes counter to so many of the clichés of science fiction and critiques the idea of expansionist space operas that dominate the genre (and thereby colonialism itself), instead showcasing a form of rural anarchistic utopianism. A story that still feels fresh now and I would easily call it the best work of Silverberg’s I have ever read.

Five Stars

Not By Its Cover by Philip K. Dick
We finish off with the other new piece, possibly by the most Famous author to grace these pages.

A publisher creates a series of special editions of famous books coated in the rare indestructible Martian wub-fur. However, the Wub’s consciousness lives on in the pelt and has opinions on the books it is coating.

It is easy to forget that sometimes Dick can be very funny when he wants to be, elevating what could have been a forgettable vignette to something better.

A high three stars

Imperfect Pieces

Your New National Health Service On 5th July the new National Health Service starts Anyone can use it - men, women and children. There are no limits and no fees to pay. You can use any part of it, or all of it, as you wish. Your right to use the National Health Service does not depend upon any weekly payments (the National Insurance contributions are mainly for cash benefits such as pensions, unemployment and sick pay). Diagram indicating: You and your family Down Arrow Circle Containing: "Your Family Doctor" Arrows going out from it saying: - Hospital & specialist services - Dental services - Maternity services - Medicines, drugs and appliances - Eye service - Dental services Choose Your Doctor Now
Advert for the NHS from 1948

As you can see, the quality varies considerably in both publications, some good, some bad, but I am glad that we have them here.

Are they to remain around for 20 years like the NHS has? Or are they destined to be experiments cast by the way-side, like Gamma or Star Science Fiction before them? Only time will tell.




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Book, Science Fiction/Fantasy

[July 18, 1968] Sweet and Sour (July 1968 Galactoscope)

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by Mx. Kris Vyas-Myall

In Watermelon Sugar by Richard Brautigan
In Watermelon Sugar First edition cover

I occasionally like to check out the authors I hear are very hip right now. It meant I read the excellent Last Exit to Brooklyn and the less great Been Down So Long It Looks Like Up To Me.

Richard Brautigan is one I have heard praise heaped on over Trout Fishing in America but the title put me off (my father talks enough about it!) When I heard he had a more fantastical novel coming out this year I made sure to get a copy.

I am not sure what I was expecting but this book is weird!

It is set in a world that appears to have emerged after some kind of great disaster destroyed the prior civilisation. The people live around iDEATH where the main material for production is “watermelon sugar”. As well as apparently being very versatile in and of itself, the day of the week the watermelons are planted on dictates the type that grow and the different properties they will have.

People used to be hunted and eaten by “Tigers” (it is unclear if these are felines raised up to consciousness or humans that have descended to cannibalism) a fact people of iDEATH seemed to have accepted as a natural part of life. However, these have all been hunted now and what remains are statues to the fallen.

In addition, the narrator lacks a regular name and instead:

Just call me whatever is in your mind. If you are thinking about something that happened a long time ago, somebody asked you a question and you did not know the answer, that is my name. Perhaps it was raining very hard, that is my name. Or somebody wanted you to do something, you did it and they told you what you did is wrong, sorry for the mistake, and you had to do something else, that is my name.

Thankfully this fellow (who I will call Idle Thought) is the only one without a regular name.

Idle Thought is writing the first book in 35 years (the one we are reading) which starts off just recording little notes about his life or small events, similar to The Pillow Book by Sei Shônagon. This is disrupted by InBOIL who declares that he knows the truth of iDEATH and departs to live in the forgotten works, the large remnants of the past world.

Margaret begins to go to the forgotten works to forage for her collection and talks with InBOIL about his finds. A few weeks later, InBOIL and his gang return to show everyone the true meaning of iDEATH.

What does this all add up to? Honestly I am unsure. This is no “polytropic paramyth”, it has all the features of a regular short novel and Brautigan has a great narrative voice. You do not doubt that a land could exist where people have discovered how to spin fruit sugar of watermelons into a wide range of products.

The question is how literally are we meant to take the text? Is this meant to be a far future story where the new technology is beyond our understanding? A far-fetched satire of our current society? A fable about the nature of power and belief? Or something else? Are we even meant to consider Idle Thought a reliable narrator?

I don’t have any answers and can’t help but feel nonplussed by the ending. As a case of literary experimentation, it works better than many authors that attempt similar things (just check out some issues of New Worlds) but I am not sure about how to grade it as SF.

However, it is an experience I would recommend others try for themselves; I will give it four stars.

When Women Rule


by Victoria Silverwolf

Apologies to science fiction historian Sam Moskowitz for stealing the title of his essay, which appeared in the August issue of If last year.

No doubt Mister Moskowitz will add the novel I'm about to review to his list of future worlds dominated by females. Is it a worthy example? Let's find out.

Five to Twelve, by Edmund Cooper


Cover photograph by Reg Perkes.

We jump right into things with our protagonist, a fellow named Dion Quern, sneaking into a luxury apartment with burglary in mind. The place happens to be occupied by a female peace officer named Juno Locke aiming a laser pistol at him.

Futuristic crime novel? Well, not really.

After this opening scene, the author goes into full expository mode. It seems that birth control pills not only freed women from unwanted pregnancy, but it made them bigger, stronger, and smarter. (There's an implication here that, until this happened, they weren't as smart as men. I'll ignore that for now.)

Besides that, it also resulted in fewer boys being born and more girls being born. Now, in the late twenty-first century, men are outnumbered by women (you guessed it) five to twelve.

About three-quarters of women are powerful figures known as Doms. The rest, who have remained feminine (sic) are pretty much just baby machines, impregnated multiple times by artificial insemination. The Doms hire them to bear their adopted children.

Men who are fortunate to be partnered with Doms are known as Squires. Those who aren't are called Sports.

Dion is a Sport, making a living through petty crime and writing poetry on the side. He hates this woman-ruled world; however, as we'll see, he's a very mixed-up and contradictory character.

We last left him facing a cop with a pistol. Does she send him to jail? (Actually, a sort of mind-erasing facility.) Nope. She invites him to share a meal and then to bed.

There's an odd kind of love/hate relationship between these two throughout the book. Dion willingly becomes Juno's Squire. Sometimes they're passionate about each other, sometimes they're ready to kill each other.

Dion gets involved, more or less against his will (as I said, he's a very ambiguous character), in a plot to assassinate Queen Victoria II, as a symbolic act by rebellious men. Let's just say that it all leads up to a bittersweet ending for what has been, up to that point, a satiric novel.

The author's style is quirky. Everybody speaks in a weirdly affected way, full of puns and literary allusions. (The sole exception is one of the women who serve as baby machines, who plays an important part in the last part of the book.)

The big question, of course, is how sexist is it? Quite a bit, I'd say. There's a fair amount of complaining about the fact that this future world has lost its spirit of daring and adventure. (Of course, it has also eliminated war and poverty.) The baby machine is a nearly mindless character, interested only in love, sex, and reproduction, and the author seems to approve of her.

On the other hand, Dion is pretty much a jerk, even if we're supposed to sympathize with him at the end. Maybe the author is more of a misanthrope than a misogynist.

Not a great book. Two stars. Go see a movie instead.


Maybe not this one. It's pretty bad.


by Gideon Marcus

Assignment: Moon Girl, by Edward S. Aarons

I wasn't sure what to expect from this one. Well, that's not quite true. I had expected a silly story, maybe with lots of lurid bits. Instead I got…

Trapped in a pit, menaced by a tiger, cosmonaut Tanya Ouspanaya is nude and defenseless. She knows not why she is there–only that she has somehow returned from the moon, where she had been for days if not weeks. When escape seems impossible, and on the verge of losing all hope, a strange man speaking bad Russian arrives to rescue her.

Meet Sam Durrell, a CIA Agent on Tanya's trail. The story then rewinds to Durrell's assignment on the case, to his arrival in the allied (but dangerously independent) country of Iran, to his entanglement not only in international affairs, but a budding revolution. Tanya is the teaser, but the mysterious revolutionary General Har-Buri, with fingers of corruption in every government pie, is the key to the tale. And, of course, the evil Madame Hung and her comrade, the Chinese spy mastermind, Ta-Po, figure prominently, along with comrades of Durrell, both Western and Persian. It's all very complex, but ultimately quite manageable, and the solution to the mystery of Tanya's sudden appearance back on Earth less SFnal, and more cutting-edge plausible.

What I didn't realize, going into this book is that the Assignment books constitute a series, of which this one is number twenty six! Sam Durrell is a recurring hero, refreshingly not cut from the James Bond mold. He is intelligent, compassionate, resourceful. And Aarons is an equal opportunity author–if Tanya's introduction sounds like a bit of cheesecake, you'll be comforted to know that Durrell gets his naked time in the pit, too. In fact, Tanya is a strong character, never the prize, the damsel, nor the love interest. All of the characters are strong, actually, and vividly portrayed. But the real stand-out is the terrain of Iran, with which Aarons must have some conversance (or at least a long National Geographic subscription). The land of the Shahs is as real as any landscape in Dune.

It's a potboiler, but it's a good one, one I couldn't put it down. I may have to find more in the series…

Four stars.

Dimension of Miracles, by Robert Sheckley

Back in the 1950s, Robert Sheckley blazed a trail with the funniest, by turns dark and hopeful, short science fiction stories one could find. His main pad was Galaxy, but he made his mark elsewhere, too. Then came the 1960s, and Bob turned his energies to novel-length works. I'm sure it was lucrative–The 10th Victim got turned into a movie–but I wasn't really impressed by any of them.

Until now.

I brought Dimension of Miracles with me on the flight to Japan, and I had devoured the whole thing before we were far past Hawaii. Only the fact that I couldn't pound the keys on my typewriter without waking up the first class cabin kept me from dashing off a review right then and there.

Here's how it goes: Tom Carmody is a bland man, blandly handsome, blandly successful, blandly urbane. His bland life is made infinitely more colorful when an alien visitor appears in his home, announcing that he has won the Intergalactic Sweepstakes. What could Carmody do but accept the invitation to go to Galactic Central to collect his winnings? The Prize, it turns out, is a sentient box, purpose unknown. It soon turns out that Carmody was picked by accident, and the real winner is determined to secure the Prize for himself. The smiling faces of the clerks and awarders of Central are quickly shown to hide uncaring souls. Carmody is on his own against his rival. Worse than that, even should he withstand the challenge, Carmody has no idea how to get home, and no one is willing to help him.

Ultimately, going back to Earth requires not just knowing where it is, but also when it is (relativity is complicated), and also for Carmody to pick the right Earth, as there are an infinite number. Each succeeding section of the book details his misadventures as he tries to find his way home. Along the way, he treats with an omnipotent but marooned God, a family of intelligent dinosaurs, and a predator tailor-made just for Carmody who trails him across the galaxy and the eons.

It's all very farcical and stream-of-conscious-y, generally the sort of stuff I don't dig. This time around, however, Sheckley deploys his mastery of the short form to make every vignette absolutely delicious, while serving the greater whole along the way. Indeed, two bits of the story were released as short stories in and of themselves, virtually unchanged: Budget Planet, which was pleasant-enough in isolation, but better here, and ditto for Street of Dreams, Feet of Clay.

All along the way are some fascinating philosophical discussions, delivered better than Heinlein ever could. If there's any fault with the story, it's that things wrap up just a bit too quickly. Nevertheless, it's a great yarn, a story that will likely inspire other future tales of galactic hitchhikers. I imagine they won't be as well rendered as this one, however…

4.5 stars.


by Jason Sacks

Rite of Passage, by Alexei Panshin

As my friend John Boston chronicled last week, the prolific science fiction fan and analyst Alexei Panshin is an expert in the fiction of Robert Heinlein. John does an excellent job in his article of analyzing the complex relationship between Heinlein and Panshin, and he does a great job of digging into the approach Panshin takes to his analysis. If you haven't read John's piece, I recommend you give it a read.

Alexei Panshin's new novel, Rite of Passage, often reads as if Panshin tuned elements of Heinlein's juvenile fiction  to reflect Panshin's view of the world, thereby taking the energy and thoughtfulness of Heinlein and giving it a specifically Panshinian spin .

Heinlein is, of course, known for featuring teen and preteen protagonists in his juvenile space adventures. Panshin follows that element closely, but with an essential twist. Nearly all Heinlein's protagonists are boys. The main character of Rite of Passage is a pubescent girl named Mia Havero, who lives aboard a space ship which is composed of descendents of survivors of Earth's destruction. See, at the time we humans discovered we were going to destroy our world, a generational starship was launched. Mia is part of an undefined generation who only know of Earth from legends shared on the ship.

Over the years the ship has been used to colonize far-flung colonial worlds, with an uneasy and sometimes contentious trade policy existing between the colonies and the spaceship. This contentiousness is exacerbated by the fact that every ship-bound kid is expected to perform a rite of passage around their fourteenth birthday, taking a forced month-long trip to a colony world in order to experience life away from the ship and formally grow into adulthood.

When Mia and some friends are transported to a world that's both highly conservative and highly resentful of the ship, they end up experiencing an adventure that's more than a simple rite. Instead the young adults face real life and death situations. And those life and death situations help trigger the brilliantly nihilistic climax of the book, an epiphany of deep emotional angst which I predict will cause fans to debate this book quite a bit in fanzines this year.

A photo of Mr. Panshin from last September at Nycon.

As I've suggested, Mia Havero is a wonderfully perceptive lead character. Her energy and spirit are as strong as the greatest Heinlein heroes, but what really makes Mia stand out are her intelligence and insights. Panshin cannily has Mia be a student of philosophy, and that philosophic approach informs her actions. Her thoughts on stoicism, for instance, are charming, and, well, here are a few other thoughts which you might enjoy…

I can think of nothing sadder than to know that you might be more than you are, but be unwilling to make the effort.

or

If I had the opportunity, I would make the proposal that no man should be killed except by somebody who knows him well enough for the act to have impact. No death should be like nose blowing. Death is important enough that it should affect the person who causes it.

or

Maturity is the ability to sort the portions of truth from the accepted lies and self-deceptions that you have grown up with.

I emerged from this book deeply impressed by the way Panshin brings his main character and her friends to life. Mia Havero and her friends are unique people, full of dreams, ambitions and intelligent thoughts. They have complicated relationships with each other, with their parents and with their larger society. The characters fairly pop off the page and I know a few girls who remind me of Mia.

Mia is similar to Heinlein's heroes, but only somewhat similar. For instance, she's a highly competent hero who must go on a quest and who is alienated from planet-siders. Readers frequently see those elements in Heinlein's juveniles. But they don't often see characters who have sex, as Mia does. They don't often see the level of empathy Mia shows herself, her friends and the planet-siders. And perhaps most importantly, characters like Mia are seldom on the outside of their societies in Heinlein's fiction.

In fact, I was also deeply impressed by how well Panshin builds both the shipboard society and the planetside society. Both are complex and intriguing, quite well sketched out for the terse length of this novel. The sclerotic approach to governing the ship, for instance, feels a bit like the sclerotic authorities in many of Heinlein's novels, while the backwards approach of the colonists feels like something out of Pennsylvania Dutch country crossed with fascist war-mongering.

Mr. Panshin accepting his 1967 Hugo Award.

Mr. Panshin has shown that his analysis of Robert Heinlein isn't the only insightful writing he can do. This book is a definite candidate for Galactic Star for the year, and I won't be surprised if Mr. Panshin wins back-to-back Hugo Awards in '67 and '68.

4½ stars.




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Science / Space Race

[July 16, 1968] Hitching a Ride to Orbit (Orbiting Vehicle Satellite Series)

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by Kaye Dee

The continuing hiatus in American and Soviet manned spaceflight and the present lack of unmanned lunar and interplanetary missions, has been a blessing as well as a disappointment. It's given us an opportunity to focus on some lesser-known US and USSR space programmes that are quietly going about their business largely unreported. One such is the US Air Force’s Orbiting Vehicle programme, which saw its most recent launch just a few days ago. While the Traveller has previously taken a look at some early OV1 series missions, the whole thing is worth looking at–it's really quite exciting!

Hitching a Ride on an ICBM
When the Air Force Office of Aerospace Research (OAR) was looking for a means to conduct space experiments at the lowest possible cost, it conceived the idea of using small satellites of a standardised design, launched as secondary payloads piggybacking on Atlas ICBMs being flown for missile technology development. After all, Atlas vehicles have been used to launch satellites as far back as 1958 (Project SCORE), as well as launching all the orbital missions of NASA’s Mercury programme.

This concept led to the development of Orbiting Vehicle (OV) programme, initially created in the early 1960s under the name SATAR (SATellite for Atmospheric Research). SATAR was an extension of the "Scientific Passenger Pods" (SPP) flown as external payloads on suborbital Atlas missile tests to conduct scientific experiments during their brief time in space. In its original form, SATAR was to use a larger version of the SPP, called the Atlas Retained Structure (ARS), that would carry a small satellite with its own propulsion system. When the Atlas missile reached its apogee, the satellite would be deployed from the ARS, using its propulsion system for orbital insertion.

Renamed the Orbiting Vehicle programme around 1963, this project now includes five separate series of standardised satellites, designated OV1 through OV5, each designed for a specific research goal.

OV1-3 launches in a side pod on an Atlas missile ABRES test flight

Launching OV1
The first series of OV satellites – which has seen the greatest number of launches to date – is OV1, developed by the Convair Division of General Dynamics, which also produces the Atlas vehicle. Initially, OV1 satellites were going to be launched on Atlas missiles testing nosecones for the Advanced Ballistic Re-Entry System (ABRES). However, only OV1-1 and OV1-3 ever flew piggyback on an ABRES mission, mounted in pods on the side of the missile. Both satellites were, unfortunately, unsuccessful.

View of the OV1-2 launch showing the twin top-mounted pods. Although there were two pods, only a single satellite was launched on this flight

The other OV1 missions so far have been launched on dedicated Atlas D and F boosters (retired from the ICBM programme) purchased by the OAR for the OV1 series. These flights use two modified SPP pods mounted side-by-side on top of the Atlas, enabling two satellites to be launched on each OV1 flight. The only exceptions to date have been OV1-6, which flew on the Manned Orbiting Laboratory test flight on 2 November 1966, and OV1-86, carried in a side-mounted pod on the same launch that lofted OV1-11 and OV1-12.

Small but Versatile
Using a standardised satellite design has enabled experiments to move rapidly from proposal to launch, the process taking just fifteen months on average. The operational design of the multi-purpose OV1 spacecraft is a cylinder 4 ft 6.6 in long and 2 ft 3 in in diameter, with a cap on both ends covered with 5000 solar cells producing 22 Watts of power. The satellite is attached to a discardable propulsion module using an Altair 2 solid-fuelled motor for orbital insertion. It has two 1 ft 6 in antennae for command and telemetry, with attitude control provided by hydrogen peroxide thrusters. The use of a Sun sensor to determine the spacecraft's orientation to the Sun commenced with OV1-7, while OV1-13 and OV1-14 introduced advanced digital telemetry, which has improved the data return from the satellites. OV1-1 undergoing a balance test prior to launch

Since the launch of OV1-1, on 21 January(GMT) 1965, 17 OV1 series satellites have so far been launched, with more apparently on the way. Only five have failed in some way. The basic purpose of this series is research into fundamental properties of the upper atmosphere and the space environment. This has meant that, unlike the experiments and results from most USAF satellites (and other OV series), which remain classified, the details of OV1 experiments have been published. But will we ever find out how closely the OV1 missions are related to the classified programs?

OV1 Highlights
Notable missions of the OV1 series so far have included OV1-4, launched 30 March (GMT) 1966, which carried three Tissue Equivalent Ionization Chambers, similar to one flown on Gemini 4, NASA’s first spacewalk mission. This data has helped to quantify the radiation hazard that astronauts face on long-duration missions in orbit.

OV1-6, launched on a Titan IIIC with the Manned Orbiting Laboratory test flight in November 1966, uniquely carried several inflatable balloons. Once ejected into orbit, they served as optical targets for ground-based observations, apparently to determine the value of inflatable decoys in confusing anti-missile systems.

PasComSat , or OV1-8, was launched on 14 July (GMT) 1966 and used for passive communications tests, designed to compare the advantages of a grid-sphere satellite against a balloon similar to the Echo series. Its non-standard design comprised a 30ft diameter open spherical grid of soft aluminium wires embedded in an inflatable plastic balloon. The entire satellite, with its unique propulsion module, weighed just 23lb. The satellite’s structure was also intended to demonstrate the feasibility of erecting an open grid structure in space, as the polybutyl methacrylate plastic of the balloon was designed to break down after a few days under the sun's strong ultraviolet rays, leaving the open aluminium structure in orbit. Tests indicate that the grid-satellite will remain in orbit for at least 11 years and have measured its reflective power as five times greater than that of a solid sphere.

OV1-9, launched in December 1966, carried a number of radiation experiments and was still aloft in late May 1967, during an intense period of solar and magnetic activity. Its data proved the existence of the Earth's electric field, which had long been theorised. OV1-10, OV1-9’s launch twin, returned the most comprehensive set of solar X-ray observations to date and also carried a cosmic ray telescope.

A unique “triple launch” took place on 27 July (GMT) 1967, with OV1-86 flying in a side-mounted pod and OV1-11 and OV1-12 positioned on top of the Atlas D launch vehicle. OV1-86 was an opportunistic mission composed of the unused satellite body originally intended as OV1-8, coupled with the unused OV1-6 propulsion module, which was not required for its Titan IIIC launch. The satellite carried a cosmic ray telescope, as well as equipment measuring the temperature radiation properties of different types of Earth terrain, mapping the Earth in the near-infrared spectrum. Although OV1-11 failed to orbit, OV1-12 carried the Flare Activated Radio-biological Observatory, equipped with a suite of eleven experiments to study the radiation hazard from solar flares.

The first Atlas F launch of the OV1 series placed OV1-13 and OV1-14 in orbit on 6 April (GMT) 1968. Both satellites were designed to focus on measuring radiation in space, although OV-14 ceased operating after one week in service. OV1-13 recently measured increases in the energy and intensity of electrons during a geomagnetic storm that took place 10 June 1968, and it is hoped that its data will shed light on how the particle flow caused by solar storms creates these high altitude increases. OV1-14


Spades and Cannonballs
The most recent OV1 launch took place on 11 July, carrying both a standard satellite and the second non-standard spacecraft in this series. OV1-15 has a suite of experiments developed by The Aerospace Corporation designed to study the response of the upper atmosphere to solar and magnetospheric disturbances. It is hoped that the Solar Perturbation of Atmospheric Density Experiments Satellite (SPADES) group of complementary experiments will help to identify the cause of large and sudden fluctuations encountered in satellite trajectories, he ultimate goal being an ability to predict these fluctuations and their magnitude. OV1-16 is another non-standard satellite, also known as LOADS (LOw Altitude Density Satellite) and Cannon Ball. This unique satellite is designed to have a large a mass/area ratio, so that they can remain in orbit at lower altitudes than conventional satellite, enabling measurements of the atmospheric properties at around 65-90miles altitude. This lower thermosphere region is a largely unknown part of the atmosphere. Cannon Ball lives up to its nickname, as a sphere with a diameter of only 24 inches, although its total weight is 600 lb, largely due to a 1.5 inch thick shell of brass! Concerns about heating by sunlight and atmospheric heating caused by orbiting at low altitude meant that the satellite body has been painted black (to increase radiation) with some gold-plated circular areas. If this experiment goes well, there may be further OV satellites of this type.

Unlucky So Far!
The OV2 series could be considered the “unluckiest” of the Orbiting Vehicle projects to date. Out of four flights, two have failed and two were canceled! The series was originally devised within the ARENTS (Advanced Research Environmental Test Satellite) programme, with the satellites intended to complement the Vela programme, monitoring for violations of the 1963 Partial Test Ban Treaty. However, with the cancellation of ARENTS, OV2 became something of an “orphan” series, its initial three satellites each tasked with quite different research.

OV2-1 shortly before launch, with its experiment package labelled

OV2-1, launched 15 October (GMT) 1965, was intended to monitor the biological hazards of near Earth charged particles, but failed to separate from its launcher. OV2-2, planned to conduct optical measurements from orbit, was cancelled, as was the OV2-4 satellite, added to the programme and designed to observe radiation from trans-lunar orbit. OV2-3, intended to undertake radiation studies, failed when contact was lost after launch on 21 December (GMT) 1965. A fifth OV2 satellite has been authorised and is due for launch later this year to conduct astronomical research and radiation studies. Produced by Northrop and launched on Titan III test flights, the spin-stabilised OV2 satellites had cubic bodies made of aluminium honeycomb, approximately 2ft on a side. Attached to each of the four upper corners of the satellite are 7ft 6in paddle-like solar panels each carrying 20,160 solar cells, although the satellites also have Nickel-Cadmium to operate while in the Earth’s shadow.

Taking a Scout
In a departure from the earlier series, OV3 satellites have all been launched on Scout boosters, used with many civilian satellite programmes, such as the Explorer series. OV3-1 to OV3-4 were built by the Space General Corporation (part of Aerojet), while OV3-5 and 6 were constructed by the Air Force Cambridge Research Laboratory (AFCRL), which also managed the entire series.

Octagonal prisms in shape, the first four OV3 satellites were 2ft 5in in length and the same dimensions wide, with their experiments carried on long booms. With a design life-span of one year, the satellites were covered with 2560 solar cells. OV3-5 and OV3-6 were a little smaller than their predecessors, being only 1ft 9in in length.

The initial group of OV3-1 to 4 were devoted to radiation studies and launched across 1966. OV3-2 made important charged particle observations in conjunction with the 12 November 1966 South American solar eclipse that was also observed by Gemini 12. Other observations and auroral research were also co-ordinated with airborne observations by AFCRL KC-135 aircraft and sounding rocket flights by the National Research Council of Canada.

VLF receiver data from OV3-3 determined the location of the plasmapause (the outer boundary of the Earth's inner magnetosphere), while the satellite also carried out radiation studies using the same suite of instruments as the failed OV2-1. OV3-4 data contributed to the refinement of theoretical models of astronaut radiation dosage.

The final two OV3 missions, in 1967, were focussed on ionospheric research. While OV3-5 failed to achieve orbit, OV3-6, launched 5 December (GMT) 1967 was quite successful. Also known as Atmospheric Composition Satellite (ATCOS)-2, its data is being used to create more accurate atmospheric models.

Despite keeping costs low by using off-the-shelf components, the OV3 programme was phased out after OV3-6, in favour of the cheaper OV1 programme.

Whispering Galleries
Just as particular physical conditions create the “whispering gallery” phenomenon under the dome of a building, the OV4 series satellites was initially created to investigate long range radio propagation in the charged atmosphere of the ionosphere. Each OV4 launch was intended to consist of a pair of satellites, one being the transmitting spacecraft, the other a receiver. However, only the OV4-1 mission was flown in this way with the OV4-2 pair cancelled. OV4-1R and OV4-1T shortly before launch

The OV4-1 satellite pair were both cylindrical, 1ft 5in in diameter, with domed upper ends. 2ft 11in long, they were powered by silver oxide/zinc batteries which gave them a 50-day lifespan.

Launched on a Manned Orbiting Laboratory (MOL) test flight on 3 November (GMT) 1966, OV4-1T carried a transmitter broadcasting on three frequencies in the 20-50 MHz range. To maximise its orbital separation from the OV4-1R receiver satellite, OV4-1T incorporated a small rocket motor. The two satellites were launched into slightly different 190-mile orbits, allowing them to test “whispering gallery” communications over a range of distances. This enabled the OV4-1 satellites to evaluate using the ionosphere's F layer as way to facilitate HF and VHF transmissions between satellites not in line of sight of each other.

Apart from being designated as part of the OV4 series, OV4-3 launched on the same Titan III flight as the OV4-1 pair, was a quite different spacecraft, being the boiler plate model of the Manned Orbiting Laboratory. The reconditioned Gemini 2 (originally flown on a sub-orbital flight on 19 January 1965), was attached to the MOL model. Little Stars
The most recent of the Orbiting Vehicle programme to date, with the smallest satellites, the OV5 series is a continuation of the Air Force's earlier Environmental Research Satellite (ERS) series. OV5 satellites are upgraded versions of the original ERS satellites developed by Space Technology Laboratories (part of TRW Inc), modified with a command receiver, allowing instructions to be sent from the ground, and advanced digital telemetry.
Spin-stabilized, for improved communications and solar power reliability, OV5 series satellites are tetrahedral in shape and made of aluminium struts. Just under 1ft in width, each satellite carries 816 solar cells distributed over its eight triangular faces. Power is stored in a nickel–cadmium battery and experiments are mounted on the vertices of the tetrahedron.

Passive thermal control keeps the inside of the spacecraft at around 59 °F, and an on-board timer is designed to shut off each satellite after 18 months of operation. Telemetry is broadcast on frequencies compatible with NASA Spacecraft Tracking and Data Acquisition Network (STADAN) stations, enabling the satellite data to be received at multiple locations.

The first two OV5 satellites, OV5-1 and OV5-3 were launched on 28 April (GMT) 1967 on a Titan IIIC vehicle. OV5-1, also known as ERS 27 is an X-ray measuring microsatellite associated with the US Air Force's “space weather” prediction programme. OV5-3, also known as ERS 28, is a materials science research project, carrying a variety of metal samples and Teflon, to investigate how they are affected by long-term exposure to the space environment. OV5-2, another materials science research experiment, is due to be launched later this year.

While the Orbiting Vehicle programme has developed somewhat differently from the original concept, insofar as it has largely transitioned away from hitchhiking on various test launches, the OV1, 3 and 5 series satellites have demonstrated the value of using standardised designs as a means for cheap and relatively rapid development and launch of space research instruments. The OV1 and OV5 programmes look set to continue for some years to come and will hopefully contribute further significant data towards our understanding of the space environment. 

So, here's to "micro" satellites–perhaps they presage the future of cheap space development!

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Magazine, Science Fiction/Fantasy

[July 14, 1968] Long Time No See (August 1968 Fantastic)

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by Victoria Silverwolf

Welcome Back, Comrade

It's been more than a quarter of a century since the Communist Party of the United States ran candidates for President and Vice-President. That was back in 1940, when Earl Browder and James W. Ford were nominated.


They didn't win.

This month, the Party chose Charlene Mitchell and Mike Zagarell for the honor.


Zagarell is technically too young to serve as Vice-President, but I don't think he'll have to face that problem.

Overdue Notice

One month isn't anywhere near as long as twenty-eight years, but the failure of a July issue of Fantastic to hit the shelves of drugstores and newsstands (in June, of course, given the proclivities of the publishing industry) may have caused as much anxiety among readers of imaginative fiction as the lack of a Commie candidate caused in Red voters.

Not to worry. My esteemed colleague John Boston has explained the situation in typically erudite fashion in his latest review of Amazing. I'll wait here while you go take a look.

Ready? Good. Now that we've got that out of the way, let's take a look at the August, not July, issue of Fantastic to see if our patience has been rewarded.


Cover art by Johnny Bruck.

Our first hint that the delay hasn't changed things very much, if at all, is the fact that the cover is once again a reprint from an issue of the popular German space opera serial Perry Rhodan.


The original always looks better.

The Two Best Thieves in Lankhmar, by Fritz Leiber

We begin in promising fashion with our old pals Fafhrd and the Gray Mouser, in another witty and imaginative adventure from the living master of sword-and-sorcery.


Illustration by Jeff Jones.

The two lovable rogues have gotten their hands on some incredibly valuable magic jewels. Each one of them tries to cash in on the stolen goods, making use of different fences.

The Mouser goes to a blind fellow, who has a nubile female assistant. Fafhrd seeks out a woman of mature years, who insists on an intimate encounter before the deal is completed. Suffice to say that things don't work out as they expect.

As you'd expect, this is a beautifully written and highly enjoyable tale. It's a bit lighter in tone that some other stories in the series; an anecdote rather than an epic, perhaps.

As a bonus, the likable character Alyx, created by Joanna Russ, makes a guest appearance. Obviously Leiber approves of the way Russ is influenced by his work, and he has acknowledged this in a gracious manner.

Four stars.

Fault, by James Tiptree, Jr.

A new writer makes his third appearance in print with this science fiction story. Narrated by a spaceman to an unknown listener over drinks, it tells how an inexperienced crew member got in trouble. It seems he clumsily injured an alien. Put on trial, he is found guilty and punished in a way the aliens can't convey to the humans. He seems perfectly fine, until strange things start happening.

What the aliens did to the fellow is the whole point of the narrative. It's pretty much a puzzle story. For that kind of thing, it's reasonably interesting. It could have appeared in Analog, except for the fact that the aliens aren't shown to be inferior to humans. It's not bad, but not outstanding in any way.

My advice to Mister Tiptree is to keep writing; the man shows promise.

Three stars.

Horror Out of Carthage, by Edmond Hamilton

Here come the reprints. This old-fashioned yarn comes from the September 1939 issue of Fantastic Adventures.


Cover art by Harold W. McCauley.

Our cast of characters includes the manly hero, an older archeologist, and the latter's beautiful daughter. They're on a dig to locate the Temple of Moloch at the site of Carthage.


Illustrations by Jay Jackson.

Right away we're told that the daughter feels as if someone is trying to force her out of her body. It's no surprise, then, when the mind of a woman of the ancient vanished city takes possession of her physical form. Pretty soon our hero's mind goes far back in time to inhabit the body of a Carthaginian man.

The big problem is that Carthage is about to be wiped off the map by invading Romans. (The two folks from the doomed city came forward in time to escape that fate.) Can the hero find a way to save his beloved from being sacrificed to Moloch, and return to his own time with her? Come on, you know the answer to that already.


War, with elephants.

This is a typical old-time pulp adventure story, with characters who are walking archetypes. It's got some vivid scenes, so it's not boring. Carthage is constantly described as a wicked, barbaric place. That sounds more like Roman propaganda than accurate ancient history, but I'm no expert.

Worth a look for nostalgia buffs.

Three stars.

The Supernal Note, by Rog Phillips

The July 1948 issue of Amazing Stories supplies this unusual work.


Cover art by Arnold Kohn.

A mysterious entity sends a musical note from an ethereal realm to the material world. In mundane reality, a man strikes up a conversation with an airline stewardess. They are obviously attracted to each other, but eventually go their separate ways.


Illustration by William A. Gray.

This is a very strange story, and I have described it badly. The author creates a highly detailed mythological background, much of it difficult to comprehend. I'm not really sure what he's getting at. Did the musical note cause the pair to fall in love?

I found this peculiar tale rather haunting, if confusing. It's definitely not the same old thing, anyway.

Three stars.

When Better Budgies Are Built, by Bryce Walton

The November 1952 issue of Fantastic Adventures is the source of this futuristic farce.


Cover art by Robert Gibson Jones.

The narrator is a vacuum cleaner salesman. He gets pulled into the future by a guy using a forbidden time machine. It seems that two rival merchandisers, the only ones left in this new version of the USA, are about to start selling gizmos that will supply everything that anyone could want, for a price. The problem is that one of the corporations has an army of robots who are able to sell anything to anybody.


Illustration by William Slade.

What makes this even more alarming is the fact that the head of the company is a would-be dictator planning to use the robots to sell people on the idea that he should be their leader. In exchange for a piece of future technology that will make him rich when he goes back to his own time, the narrator figures out a way to defeat the irresistible robot salesman.

Pretty silly stuff, really. The plot depends on the robots being absolutely perfect at selling merchandise and ideas, without any clue as to how they do this. We don't get to find out what the narrator earns for his service, either.

The ending makes use of a stereotype about women that is more goofy than offensive.

Two stars.

The Frightened Planet, by Sidney Austen

This two-fisted, he-man yarn comes from the October 1948 issue of Amazing Stories.


Cover art by James B. Settles.

A Cro-Magnon runs away from his tribe after a fight with the bullying leader. He witnesses a sphere arrive and discharge two men and a woman. After saving the trio from a wolf, he jumps into the vessel to escape a sabretooth tiger. The four go off to another planet.


Illustration by J. Allen St. John.

The folks on this world are under attack by green monsters. The Cro-Magnon defeats the creatures easily, while the effete males around him cower in fear. Naturally, the woman is instantly attracted to his manliness.

The author is obviously trying to promote the idea that men should be fearless warriors. The Cro-Magnon's contempt for the decadent males surrounding him is evident, and the author appears to share it.

Even if I ignore all that, as an adventure story it failed to hold my interest. There are parts of it where there seems to be something missing; one scene jumps to another without any kind of transition.

One star.

You Could Be Wrong, by Robert Bloch

Here's a tale of paranoia from the March 1955 issue of Amazing Stories.


Cover art by Ed Valigursky.

A guy gets fed up with everything being fake. He goes on and on about this, until his exasperated wife calls in a buddy to talk some sense into him.


Illustration by Virgil Finlay.

The two fellows argue about stuff being phony for a while. The guy reveals what he thinks is behind all these ersatz things. There's a twist ending you'll see coming a mile away.

Definitely a one idea story. It's like one of Philip K. Dick's what-is-reality tales, with all the subtlety and complexity surgically removed. Or maybe it's more like a clumsy version of Robert A. Heinlein's famous solipsistic nightmare They.

Anyway, not very good.

Two stars.

No Head for My Bier, by Lester del Rey

This screwball comedy comes from the September 1950 issue of Fantastic Adventures.


Cover art by Robert Gibson Jones.

A nutty scientist uses a gizmo to remove an actor's head, as far as anybody can tell. Apparently he can still talk and breathe and such. He tells the actor to get a job without his handsome face within a month, or stay that way forever.


Illustration by Robert Gibson Jones also.

The actor's head is stored, in some way or other, like a photographic negative. Only pure alcohol can make it go back to normal. Let's just say that beer and a cat are involved in the ridiculous climax.

This thing is even more of a lunatic romp than I have indicated. The nutty scientist does all kinds of impossible things, from teleportation to literally flying.

Of possible interest to fans of pure wackiness.

Two stars.

The Wrong People, by Ralph Robin.

Yet another comedy, from the November/December 1953 issue of the magazine.


Cover art by Vernon Kramer.

A married couple who pretty much dislike everything, including each other, inadvertently conjure up a being from somewhere else in space and time. The creature is friendly enough, it seems, even if it scares the daylights out of the humans at first.


Illustration by Ed Emshwiller.

After they calm down, they think it's some kind of genie or something, ready to offer them whatever they want. This misunderstanding doesn't end well, leading to a shockingly gruesome conclusion.

There seems to be a touch of satire here, although you have to dig deep to find it. The sudden change in mood at the end really threw me for a loop.

Two stars.

Edgar Rice Burroughs' The Princess of Mars, by Charles R. Tanner

The author retells the story of ERB's famous novel in the form of a humorous poem.


Illustration by Jim.

I found it too sophomoric for my taste in literary spoofing. I may be prejudiced, as I am not a fan of Burroughs.

One star.

Worth Waiting For?

This issue started off well, but quickly sank into mediocrity and lousiness. Amazing and Fantastic seem to have reached the bottom of the barrel when it comes to reprints. Too much thud-and-blunder adventure, too much stupid comedy. It's enough to make you sick.


Cartoon by Frosty, from the same issue as Ralph Robin's story.




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Book, Science Fiction/Fantasy

[July 12, 1968] The Pioneer and the Gorilla: Heinlein in Dimension, by Alexei Panshin

5 Comments


by John Boston

A few years ago, when I was reading a lot of fanzines, I came upon an article impudently titled Heinlein: By His Jockstrap, concerning attitudes towards sex in the works of Robert Heinlein.  Wow!  This SF fandom is pretty racy!  Or so I thought. Not everyone appreciated that article, though, starting with Mr. Heinlein.


Alexei Panshin

The article’s author, Alexei Panshin, was a budding SF writer himself, having a few months earlier published the impressive Down to the Worlds of Men in If.  Since then he has published more stories of varying merit, and a just-published novel, Rite of Passage, which on a first and superficial reading seems quite impressive—and, not at all ironically, quite Heinleinesque.  He also published more articles about Heinlein in fanzines.  You’d think the guy was working on a book.

And of course he was.  But it’s more complicated than that.

The Pioneer by Invitation

According to Panshin, in another fanzine article, this one in the April 1965 Yandro, he was solicited by Advent: Publishers in 1964 to write a critical study of Heinlein’s fiction.  Advent publishes books about SF, such as Damon Knight’s In Search of Wonder, James Blish’s The Issue at Hand, and the symposium The Science Fiction Novel: Imagination and Social Criticism.  The proposed book would be the first book-length study of any writer from within the SF ghetto.  Panshin accepted and got to work.  He wrote to Heinlein, introducing himself, stating he was planning to write a book better than the “Jockstrap” article, and asking some questions about his life and work.  There was no response—to Panshin, anyway. 

Panshin also wrote to a number of others about Heinlein, later learning that Heinlein had been angered by these letters, and had seemingly discouraged the recipients from responding.  In any case he got few responses.  One who did respond was the widow of Sergeant A.G. Smith—the dedicatee of Heinlein’s Starship Troopers—who offered to let Panshin see Smith’s correspondence with Heinlein. 

The 800-Pound Gorilla

Heinlein was furious, and ultimately wrote Advent a letter, which Panshin has seen and which he describes as attacking his qualifications to write the book, accusing him of employing ungentlemanly, unethical, and in part dishonorable and illegal means of gathering material, and forbidding Advent to quote from Heinlein’s copyrighted works, use his name or picture, or do anything else requiring his permission.  He refused Advent’s offer to review the manuscript pre-publication, and reserved the right to sue or bring criminal action as appropriate if the book were published. 

Advent, successfully intimidated, then backed out and sent Panshin a $50 kill fee, leaving him with a completed book and nowhere to go with it.  His efforts to find a way to smooth things over were futile.  Panshin concluded his Yandro article by quoting the man himself:

“FARNHAM’S FREEHOLD, page 88: ‘ . . . a book need never die and should not be killed; books were the immortal part of man.  Book burners—to rape a defenseless friendly book.’ ”

So, what to do?  What Panshin did do was to break out portions of his book manuscript (some with substantial revisions) and submit them for publication in various fanzines, mostly the solemn and prestigious Riverside Quarterly.  Not surprisingly, after having all this impressive material published in a short period of time, Panshin last year received the first Hugo Award for Best Fan Writer.

Meanwhile, Advent had a change of heart.  After Panshin’s award, and also after it reorganized from a partnership to a corporation (thereby protecting the former partners, now owners, from personal liability), it would publish Panshin’s book after all.  And now we have it.

The Book


by Alex Eisenstein

So what exactly do we have?  It’s impressive within its (self-imposed) limits.  It is a work of genre criticism, explicitly in the vein of Knight’s In Search of Wonder, which is cited repeatedly.  It makes no effort to connect with the wider (some might say narrower) world of mainstream literary criticism.  Panshin obliquely justifies his genre focus by conceding that SF is “minor,” but “not because it is essentially trivial, like the endless number of locked-room mysteries, not because it is bound forever to repeat a single form, like the sonnet or Greek drama, and not even because most of its practitioners are second-rate or worse, though most of them are.

“Even the best science fiction is minor to the extent that most people are not prepared intellectually or emotionally to accept it.”

So there!  Fans are slans!  But seriously, this proposition provides at least a fig leaf of a basis for treating SF as its own discrete literary territory, though no one is required to agree.

Panshin then proceeds, year by year and story by story, to summarize and comment on all of Heinlein’s SF, and some non-fiction items, from the beginning through The Moon Is a Harsh Mistress.  This material is divided into “The Period of Influence” (1940-42), “The Period of Success” (1947-58), and “The Period of Alienation” (1959-67).  These take up over half the book. 

It sounds deadly, but it is not; the length of the comments is proportional to the interest of the works and what Panshin has to say about them.  They get longer as he gets closer to the present, appropriately, since as he demonstrates, there’s a lot more wrong with the more recent books than many of the older ones.  Panshin is a plain and succinct enough writer that this long exercise mostly retains its interest and does not become wearying, at least to my taste.

Some of Panshin’s judgments are initially startling.  He says of The Moon Is a Harsh Mistress—widely welcomed, after several weak books, with cries of “Heinlein is back!”—that it “has its interest, but it is not as a novel.  It is as a dramatized lecture.” To start, he concedes: “Line-by-line, it is fascinating reading” and “less flawed by sermons and constructional weakness” than his other recent books.  But he goes on to nail the book’s sentimentality, lapses of logic, and deficiencies of style (Panshin knows Russian and doesn’t think much of the “babu-Russian” in which the narrator thinks and speaks).  If (like me) you have reread this book and found it less captivating the second time around, Panshin tells you why, if you haven’t figured it out yourself.

Among many other judgments, Panshin thinks Beyond This Horizon and Have Space Suit—Will Travel are Heinlein’s best works, a view I suspect doesn’t command a majority among Heinlein readers.  (“Only a misanthrope could dislike Have Space Suit—Will Travel,” he says.  Calling Dorothy Parker!)

Panshin uncontroversially thinks Heinlein’s best work was done during his middle period, when “he was in solid control of his writing tools and nearly everything he did was first rate.” However, his pick for the five best books of this period are all juveniles, while he dismisses the Hugo-winning Double Star as “good light entertainment, but no more than that,” since Heinlein doesn’t provide a more detailed account of the workings of the political system in which his protagonist is working.  He says the generally well-regarded By His Bootstraps is “tightly constructed, as intricate as a bit of musical comedy choreography, and arrives at a destination”; but it lacks “anything to get your teeth into”; and, later on, he describes it as “neatly composed, if completely empty.” Continuing the latter theme: “Delilah and the Space-Rigger . . . is a smoothly-written but empty little bit of nothing about women breaking into previously all-male space jobs.” I hope Betty Friedan is not a Heinlein reader.  But whatever you think of Panshin’s opinions, he has his reasons and generally shows his work (the “Delilah” comment is an exception).

After slicing Heinlein’s work horizontally by time, Panshin slices it vertically by substance and method, with chapters labelled Construction, Execution, and Content.  (There’s also a short chapter on Heinlein’s non-fiction—if you were curious about Who Are the Heirs of Patrick Henry?, here’s your chance.) In these chapters he makes a number of observations about Heinlein’s modus operandi, of which some are quite acute while others seem a bit wandering and/or pointless. 

For example of the latter, under the subhead Attitude is a several-page digression-filled discussion of whether Heinlein’s works are realistic or romantic (realism wins, mostly).  The discussions of Context and Characterization are more fruitful.  Panshin says, “Characterizing situations has always been one of Heinlein’s strongest points, and I think it is safe to say that he has always done better with developing his societies than he has with developing individual characters.” Further: “Heinlein in general has preferred to show how things work in such consistent detail that his societies speak for themselves; they don’t need to be explained or justified.” He illustrates this point with an extensive discussion of the building of The Menace from Earth, in what is likely the most sustained attention that story has ever received.  He concludes: “Heinlein has by and large been able to build complex, consistent societies, the complexity coming from individual elements that fit together at the same time that they are used to further the story action,” this time taking Beyond This Horizon as his text and making a good case for its merits, at least in that regard. 

Concerning characterization, he says: “Heinlein’s characterization has not shown the variety that his contexts have, but in a way this makes very good sense.  Basically, Heinlein has used the same general characters in story after story, and has kept these characters limited ones.” And here we arrive at territory that most Heinlein readers will find familiar.  “There is one unique and vivid human Heinlein character, but he is a composite of Joe-Jim Gregory, Harriman, Waldo, Lazarus Long, Mr. Kiku, and many others, rather than any one individual.  I call the composite the Heinlein Individual.  . . .  It is a single personality that appears in three different stages and is repeated in every Heinlein book in one form or another.

“The earliest stage is that of the competent but naïve youngster. . . .  The second stage is the competent man in full glory, the man who knows how things work. . . .  The last stage is the wise old man who not only knows how things work, but why they work, too.” Other characters are barely individualized.  “Their most striking feature is their competence, reflecting that of the Heinlein Individual.” “After this small circle, Heinlein ordinarily relies on caricature, and he has a number of set pieces which he produces as needed.  One is that of Whining, Useless, Middle-Aged Mama. . . .  Matching this is the Pompous Male Blowhard. . . .  A third is the Nasty Young Weasel. . . .  Further caricatures could be named, but let’s stay with those.”

Fair cop!  But, says Panshin, this is all fine.  “Heinlein’s characters, it seems to me, are clear if not striking, and for his purposes this is probably enough. . . .  Heinlein has concentrated on developing unfamiliar contexts for his stories; if he were to populate these contexts with wild characters, the result might seem chaotic.” Note the similarity to C.S. Lewis’s observation, in his 1955 lecture On Science Fiction, recently published in his Of Other Worlds, that “[t]o tell how odd things struck odd people is to have an oddity too much. . . .”

There is much more about the what and how of Heinlein’s work, of varying interest and cogency, but you should read it yourselves; you will anyway, later if not now. 

Panshin sums up in the chapter titled “The Future of Heinlein”—not what Heinlein will do, but how he will be regarded, based on his work to date.  Here, however critical Panshin has been, his bottom line is unequivocal: “It is clear right now that even if his career were to be over, Heinlein would retain a historical place in company with Wells and Stapledon.” That’s because, first, of “the storytelling techniques that Heinlein developed and that have been generally copied within the field”—mainly the shift he exemplified from the basically speculative to the basically extrapolative, which by the way is what killed off the “sense of wonder” mourned by some.  “Heinlein’s insistence in talking clearly, knowledgeably, and dramatically about the real world destroyed forever the sweet, pure, wonderful innocence that science fiction once had. . . .  In a sense, Heinlein may be said to have offered science fiction a road to adulthood.”

Second, Panshin says, SF has mostly “concentrated almost as a matter of course on the atypical situation, the abnormal, the extraordinary.  It has never been willing to stand still and examine the ordinary person functioning normally in a strange context. . . .  We want variety in our fiction, to be sure, but the future is already strange.” Heinlein, says Panshin, “is the one science fiction writer who has regularly dealt with the strange-but-normal.” That’s a considerable exaggeration, but the more-than-a-grain of truth is that Heinlein has paid more consistent non-satirical attention than almost anyone else to the mundane details of life in his future and extraterrestrial settings, and it’s one of the more attractive and influential aspects of his work.

Panshin says he wouldn’t be surprised if Heinlein’s reputation is ultimately similar to Kipling’s.  Maybe so.  My own suspicion is that Heinlein’s reputation will diminish over the years, especially if he continues moving in the direction of his most recent works.  Panshin is right to predict that SF is “likely to receive increasing amounts of serious critical attention and regard” going forward, but I suspect that it is the growing sophistication and competence of its practitioners by the standards of general literature that will drive such a change.  It is those newer writers who will garner the broader recognition, and those they have learned from, like Heinlein, will be largely forgotten except by the remaining hard-core genre enthusiasts.

Summing Up

Heinlein in Dimension is not a great book, but it is a pioneering one, with much of interest and value, and is well worth reading, shortcomings and all.  Four stars.




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Magazine, Science Fiction/Fantasy, Serial

[July 10, 1968] Back in the Saddle Again (August 1968 Galaxy)

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by Gideon Marcus

Not F-UN

Bjo Trimble, a superfan from the wayback, put together a fan shindig in Los Angeles last weekend.  Called F-UN Con, it is not only an SF convention, but it's also the first Star Trek convention, with a whole day of programming dedicated to the show.

This article is not about F-UN Con.

Why did we fly to the Bay Area this past weekend rather than trundling up to L.A., which is closer?  Well, we know the gang in 'Frisco, and they've been putting together informal conclaves every year.  We couldn't very well shuck tradition just for a new event, even if it's nominally in our back yard.

It was a good decision.  For one thing, they had a bit of Star Trek up there–this lovely reproduction of the captain's chair.

And now that The Prisoner is showing in the States, we're getting some lovely costumage, too!

Speaking of traditions that are worth upholding, the latest issue of Galaxy feels like a return to the quality of yore.  Usually, magazines pack their summer issues with their least impressive offerings, but such was not the case this time around.  Take a trip with me!


by Vaughn Bodé

Among the Bad Baboons, by Mack Reynolds


by Vaughn Bodé

Mack Reynolds continues his stories of life under "People's Capitalism" in the '80s, this time focusing on the last of the Bohemians, living in the decaying ruins of Greenwich Village.  With most of the country now on the dole, and white flight having been taken to its logical extreme, the cities are now all but abandoned, save for the "babboons"–lawless squatters–and the "hunters", who go downtown to shoot for thrills.

This story is more a vehicle for philosophical discussion than plot, and I found the end a bit distasteful.  That said, there are some fascinating suppositions in this tale.  One is that the current regime, in which prospective authors send their manuscripts to editors, who then publish them through traditional channels, will be supplanted by a revolutionary new process.  In the '80s, any author can take their novel (or story, or artwork) to a computer and have it stored for infinite reproduction.  These reproductions can then be read on a tv-phone (or in the case of art, facsimile duplicated).

This means that anyone can be a writer or an artist, and anyone can appreciate any work, any time.  And since everyone is on the dole anyway, why not be an artist or a writer?  Well, it does mean there's a lot more competition, and it's harder to become a phenomenon, but on the other hand, there's no barrier to entry.

Now, Reynolds assumes most people won't want to be artists, and they will be content to watch 24 hours of television a day while tranked up on cheap drugs.  Maybe he's right.  But as someone who already publishes nontraditionally (what is Galactic Journey and The Fantasy Amateur Press Association if not decentralized publishing), it's an exciting prospect.

Three stars, for the ideas, if anything.

Going Down Smooth, by Robert Silverberg


by Brock

Silverbob puts on his best Ellison impression with this tale of a therapist computer gone nuts listening to neurotic patients all day.

It's not bad, but it doesn't go anywhere.  I'd stick with the original.

Three stars.

A Specter is Haunting Texas (Part 2 of 3), by Fritz Leiber


by Jack Gaughan

I really had not been looking forward to this second installment of Leiber's tale.  Last time, as you recall, a spaceman-actor had landed in post-apocalyptic Texas (now ruler of all North America save the two Black republics in the southwest and southeast) to 1) perform in a short tour and 2) make good on a pitchblende claim in the Yukon.  The eight-foot tall, cadaverous, cybernetic thespian was recruited in a hit on the current President of Texas, whereupon he escaped to join causes with the revolutionary Mexican underclass.

It was all a bit silly, and while I appreciated what Leiber was doing, it didn't quite resonate with me.  This time, however, the needle fell into the groove.  As Chris Crockett La Cruz assumed the role of La Muerta, spurring the downtrodden Mexicans with promises of Vengeance and Death, Leiber's writing took on sublime proportions. The way he navigates the line between satire and seriousness so deftly, with such beautiful language and characterization, even as the characters are all caricatures, is an accomplishment for the ages.

Five stars for ths installment.

For Your Information: In Australia, the Rain …, by Willy Ley

The topic for this month's non-fiction piece is an interesting one: the artificial lakes, rivers, and resulting hydropower systems of Australia.  The presentation, however, leaves much to be desired.  I want to know the impact of these developments, both on settlement and on the environment, not be given pages of details of their precise geographical location.

Three stars.

The Time Trawlers, by Burt K. Filer


by Dan Adkins

A thousand years from now, humans will fish the future just as they now fish the seas.  As the solar system's population grows to number into the quadrillions, our race must pluck planets from 30 billion A.D. to plunder them for their resources.  An 18-year old fisherman with "the knack" for finding rich worlds, decides he doesn't want to do it anymore after seeing what the process does to already-inhabited planets.  He embarks on a one-man crusade against the practice, hatching a novel scheme to bring it to an end.

Never mind the silliness of the premise, or the fact that culture looks pretty much like 20th Century Earth in the tale.  It's a good story, well-told.  Sure, it feels a bit like early vintage Galaxy, but I like that era!

Four stars.

The Star Below, by Damon Knight


by Jack Gaughan

Thorinn, that diminutive traveler introduced in The World and Thorinn and later in The Garden of Ease, has returned.  This time, he has stumbled across an enormous warehouse filled with all manner of wondrous items.  From rich garments to strange engines to a talking box, all are marvels to the medieval-minded explorer.

Of course, it's at this point that our suspicions are confirmed that the myriad of worlds Thorinn passes through are all parts of a giant generation ship, this being the cargo hold.  What makes this segment so compelling is the description of these (to us) more-or-less familiar items to a man with no conception of technology.  The interactions between Thorinn and the little computer, particularly the way the box learns English, feel very natural.  I only wish Thorinn could have taken the box with him; it'd make an interesting companion.

Four stars.

HEMEAC, by E. G. Von Wald


by Joe Wehrle

Long ago, the robots took over the human power plants, and they also claimed a number of human hostages, who they began to educate in their own, logical images.  But the robots are breaking down, and the "renegade" humans are pounding at the gates.

What is HEMEAC, a teenaged robot-trained youth supposed to think when his teachers all start behaving erratically and the wild people defile the sacred halls of cybernia?

This is another tale with a classic (i.e. '50s) sense to it.  I particularly enjoyed the rendering of the robots, and HEMEAC's not-entirely-successful attempts to make rigid his thought processes.

Four stars.

Missed it by THAT much

Put it all together, and you get an issue that soars almost to four stars in quality–surely to contend for the best magazine of the month.  It's reads like this that keep me going, and also cause me to commend editor Pohl for keeping the proud publication on an even keel.  I know some disagree with his lambasting of the New Wave (and, indeed, Pohl is not averse to printing examples of it), but I think there is value to the continued production of novel, interesting, but also conventional SF prose.

I can't wait for next month!




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Fashion, music, politics, sports

[July 8, 1968] Let the Sunshine In (Hair: The American Tribal Love-Rock Musical)

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by Erica Frank

Hair is a rapturous celebration of free love, higher consciousness, sexual adaptability, racial integration, and anti-authoritarianism. It's a critique of political corruption, the tragedies of war, and religious oppression. Also there is nature-based spirituality.

Hair is a debauched glorification of sex, drugs, perversion, profanity, and rebellion. It mocks public service, patriotism, and the church. Also there are fart jokes.

Pick one. Or take two; they're cheap. Everyone's got an opinion and none of them are the "real truth" about this complex and colorful stage production.

Note that the more positive description involves more words. It's easier to say something is bad–depraved, degenerate, vile, corrupt, and so on–than to praise something that doesn't fit into the established storytelling patterns of the day. And this musical–and its album–steps well off the common path to get its points across.

It's transcendental meditation versus the implacable forces of orthodoxy, and the prize at stake is the souls of a swarm of young people hanging out in Central Park.

Hair album cover

The cover is so striking you might not realize that the hair is not an artistic cloud-of-lightning addition–that's Steve Curry, who plays Woof in the Broadway cast.

Talk About Your Plenty, Talk About Your Ills

The music is incredible. From the opening "Aquarius" with its drumbeats and slow crooning that suddenly shifts to a cascading list of delightful assumptions of what the new era will bring, to the lascivious "Sodomy," to the jubilant "I Got Life," to the poignant "Easy to be Hard," the songs compel emotions with a shifting array of perspectives. The titular "Hair" is rebellious without hostility; "Don't Put It Down" is irreverent without contempt; "Three-Five-Zero-Zero" is stark and accusatory; "Good Morning Starshine" is bright and hopeful.

It's easy to get caught up in the music and miss the message–after all, the message is multi-directional and possibly contradictory. There's no one single theme I can point to and say, "this, this is the true message of Hair."

A scene from a performance last year, before the play hit Broadway.

It's anti-war, anti-draft. Those parts are simple enough. But it doesn't talk about war's influence on communities or even society–it talks about deaths of strangers happening far away, and young men who are afraid or (not unreasonably) unwilling to march off to fight and possibly die. This is not like Mark Twain's War Prayer; it's not a reminder that one side "winning" means another side enduring sorrows and agonies. This is instead, a view of war from the perspective of confused teenagers: A lack of comprehension why anyone would want to fight when the world seems on the verge of so many social and spiritual breakthroughs, when there is so much beauty and bliss and they could be partying instead.

War Is Not Healthy for Children and Other Living Things

Sheila leads the tribe in chanting for peace and freedom. Claude denounces his parents for coupon-clipping and wanders the streets looking at daffodils. Hud quotes Muhammad Ali from the New York Times last year, saying, "The draft is white people sending black people to make war on yellow people to defend the land they stole from the red people."

Muhammad Ali and friends at the Houston courthouse after he refuses to be drafted

Muhammad Ali and friends leaving the Armed Forces induction center in Houston after Ali refused the draft – April 28, 1967. | AP

There is something very true about that. And yet it is also facile, a simplification of a complex political situation. It boils the draft down to "why is this wrong for me" without consideration of why one nation might take up arms on behalf of another.

I do not think the US should be in Viet Nam at all, and we certainly shouldn't be drafting soldiers to send there. But my reasons for these beliefs are not discussed in Hair, which is focused on its "haggle of hippies" and their interests, which do not include political theory.

The play is obviously, overtly anti-racist. It denounces segregation and discrimination, speaks out against the white historical practice of "colonizing" by killing anyone who get in their way. But it does so by having black characters proudly claim the slurs thrown against them as badges of honor, by showing native peoples as "noble savages," insightful and wise but speaking with broken English. It does not show that some black people are uncomfortable with gutter slang, and would like to be lawyers, doctors, or professors, rather than street dancers and "President of the United States of Love." It does not show that some people hold all Americans, not just "the Establishment," in contempt. It celebrates white girls dating black boys and vice versa; there's no equal jubilation over black people who want nothing to do with the communities of their historical oppressors.

It's not inaccurate so much as it's incomplete, showing only narrow aspects of multi-faceted problems, a view so limited it could reasonably be called deliberately misleading. It preaches that peace, love, and tolerance can overcome all conflicts, settle all disagreements, glossing over any disputes that have their roots in limited resources or incompatible cultural differences.

The Politics of Ecstasy

It would be easy to dismiss the play as a performance of Timothy Leary's admonition to "Turn on, tune in, drop out," and to say the "core" message is "ignore all the rules; just enjoy yourselves."

Poster fort Human Be-In in 1968

Poster for the Human Be-In at Golden Gate Park in 1967.

And while there's plenty to support that claim–lots of sex and drugs and, every time things get a bit too serious, Berger makes crude jokes–there's something deeper as well. The hippies wrestle with politics, survival, and their sense of self. They try to find their own identities in a community that's aggressively cooperative, in contrast with the large society that seeks to erase them.

For all the fun and festivities, there is a dark undertone that cannot be banished by any amount of song and merriment. As the story pushes toward the conclusion Claude fears so deeply, he is left with the awareness that, while his community will share his joys, they don't know how to lessen his worries or sorrows. We, the audience, are stuck also realizing that these cheerful, carousing people, who hug freely and seem devoid of jealousy or malice, are fighting an unwinnable battle against forces they do not wish to comprehend, because even naming the foe would lose the innocence that allows their tribe to exist at all.

Five stars. The highs are lively and charming, and the lows are breathtakingly bleak.




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Book, Science Fiction/Fantasy

[July 6, 1968] 2001: A Space Odyssey: more than just a film?

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With New Worlds magazine currently in creative limbo, I’ve found myself with time on my hands this month. The good news then is that I’ve been able to use this time in getting hold of an early copy of a book I’ve been wanting to read for ages from one of my favourite authors – 2001: A Space Odyssey.

You may have seen or at least heard of the movie – I still haven't seen it, sadly – but what about the book?

This one is special, as the cover clearly states. This is a novel, not a novelisation. Unlike a novelisation, which is usually based on the already-written script, the plot of this novel is a collaboration between the film director Stanley Kubrick and SF author Arthur C. Clarke.

Arthur C. Clarke (left) and Stanley Kubrick (right) on the set of the movie.

I know that films often change between novel and script, so I’ll be interested to see how similar they are. I’ve been told that an early version of the novel was put together as long ago as 1964, before any film was in the can, but at the moment I have no idea how similar the finished novel version is to the earlier version of the novel – or indeed to the film!

OK. To the book then. It begins with something that I can imagine as a voiceover in a movie, with rather attention-grabbing prose:

“Behind every man now alive stand thirty ghosts, for that is the ratio by which the dead outnumber the living. Since the dawn of time, roughly a hundred billion human beings have walked the planet Earth.”

Typical Clarke – one of those ‘wow’ facts that create a sense of wonder and give a context before getting to the meat of the plot. It sets the scene for the first part of the book, where we meet Moon-Watcher, a man-ape from the ‘Dawn of Time’, thousands of years ago.

Moon-Watcher’s life is pretty straightforward, then, even if life is hard – he hunts with his tribe, he eats, sleeps, and he mates, but occasionally will look up at the stars and the Moon and wonder about bigger things. Daily foraging has variable results, usually for the worst. We are never allowed to forget that Moon-Watcher can be hunted by other animals as well as hunt himself.

One night a mysterious slab of rock – the “New Rock” – appears in the group’s valley. Moon-Watcher touches it but as it is not food, it is pretty much dismissed by him and the rest of his group. However, at this point we get a glimpse of the fact that it is an alien machine. The following day the slab sends out a sound, which immobilises the group who are investigating the rock.
Moon-Watcher and his tribe, from the movie.

Although they do not realise it themselves, the monolith tests the man-apes and educates them. The effect on Moon-Watcher in particular is profound. He kills a leopard and then leads a fight against a rival group, the Others, using weapons.

The book then abruptly moves forward a few hundred thousand years and we find ourselves observing Dr. Heywood Floyd, Chairman of the National Council of Astronautics on a trip to the Moon. Journeying to the Moon seems as straightforward as me or you climbing onboard an airliner.

At this point we are in traditional Clarke-writing territory. The prose is in the usual calm, even detached manner of Clarke’s usual text. It is straightforward, direct and yet suffused with typical Clarke wry humour, such as his description on how to use a space toilet!

A startlingly good image of "Man on the Moon". (From the movie.)

Floyd is on the Moon is to see at first-hand an object known as TMA-1 discovered by the Americans in Tycho Crater. And here we seem to have a recycled idea. TMA-1 is an alien artifact that Floyd and his team are trying to determine the identity and origin of. Looking through my Clarke stories, I find that this is similar to the story Sentinel of Eternity, published in 1953, which describes a similar event on the Moon. It’s clearly an idea that appealed to both Kubrick and Clarke, as if an idea’s good, it’s worth using more than once, right?

Much is made of the point that there is clearly tension between the U.S. and the Soviet sections of the Moon base. Outposts are being denied outside communications with Earth, and political tensions mean that outside the scientific community missiles are being primed between the U.S., the Soviets, and the Chinese. (Oddly though there is no mention of British involvement. Perhaps Peter Sellers in Dr.Strangelove has put them off?)

Throughout all of this part, Clarke describes the practicalities of a Moon-living lifestyle, how people travel, work and eat as this “first generation of the Spaceborn”. This sort of thing is Clarke’s bread-and-butter, and he clearly relishes spending time describing and explaining what this future Lunar lifestyle is like.

Floyd’s arrival at the object leads to it reacting. A message leaves the object and travels out to the stars.

The story then leaps forward a few more years, to what is presumably the year 2001. The actions of the object have led to a galvanising of efforts from Earth. The result is the Discovery, a spaceship built and sent to Saturn after the detection of another magnetic anomaly, obviously named TMA-2.

The Discovery. From the movie.

Most of the crew are in suspended animation for the journey that will take months. We focus upon the two astronauts left awake at this point in the story, Frank Poole and Dave Bowman. There is also the HAL-9000 computer, running all of the day-to-day mechanics of the ship.

The 'eye' of the ever-so-polite but flawed HAL-9000, from the movie. Are Kubrick and Clarke trying to tell us something of British manners?

All seems well. Life on board the spaceship seems actually quite boring and repetitive.

The fly in the ointment is that the never-failed supercomputer begins to act badly. Initially unbeknownst to Bowman and Frank Poole, HAL switches off the life support of the crewmembers in suspended animation, thus killing them. Eventually faults become more noticeable to the two crew, and when Poole is sent outside the ship to fix a communications antenna that doesn’t need fixing, they become aware that their infallible computer may be making errors.

The consequences of this are huge. As an artificial intelligence, HAL realises that the two men know that something is wrong and takes steps to deal with it. In the end, as Discovery approaches TMA-2 at Japetus, Bowman has to take a leap of faith and leave the ship in order to take a closer look at the anomaly. This leads to a Bowman taking a journey through the Eye of Japetus and the ambiguous ending of the novel:

” Then he waited, marshaling his thoughts and brooding over his still untested powers. For though he was master of the world, he was not quite sure what to do next.


But he would think of something.“

The full wraparound dustjacket from New American Library. Artwork by Robert McColl.

First of all, on finishing the book, I can see that this is clearly a Clarke novel. His practical descriptions of the spaceships, transport and the Moon base feel like they are straight out of his own British Interplanetary Society handbook.

However, as much fun reading about these details is, the emphasis of the novel on the big picture is also typically Clarke-ean. It is about ‘the big picture’, to which the characters are but a minor part in a story covering millions of years.

I liked the fact that HAL the computer is clearly not just a machine but also a character in the novel, but it did make me think whether HAL as a misfunctioning computer is a plea by Clarke not to blindly accept technology? Or perhaps the point is being made that for all of HAL’s sophistication and intelligence, humans are better?

I understand that there has been a lot of discussion about what the end of the movie means, because this ending creates a lot of unanswered questions. It seems to have taken on an almost mystical status by film-watchers. To me, the main point of the novel 2001 seems to be about human evolution, albeit evolution uplifted by an alien (a link to Clarke’s novel Childhood’s End, perhaps?)

This sounds like perhaps this is a benevolent action. Clarke being Clarke, it seems (although that it is not clear) that it is for the greater good, some altruistic act, “passing it forward” as Robert Heinlein says.

2001 may be seen as a plea for tolerance. Clarke’s distaste for war and violence is palpable throughout, although perhaps seen as a necessary evil. What the books seems to be telling me is that for all of our Earthly political and ideological divisions, the fighting and war and even the social inequality, Clarke (and presumably Kubrick) have taken what is the best of Humanity and shown us in 2001 that as a collective race we can be bigger, better and something more than what in context can be seen as our petty squabbles. There are no nasty villains here – even HAL has a twisted logic for his actions. Actually, the characters – even HAL! – are unfailingly polite to each other, even when they disagree, for we are looking at higher morals and ideas here instead.

To get there though will not be easy. Do we as a race need someone, or something, to hold our hand in order to not make mistakes and improve for the greater good? I got the feeling at the end that this was not only right but necessary for human evolution, and that Clarke (and/or Kubrick!) feels that we are on a long journey of advancement through time – an odyssey of the highest order.

But the actual reasons for these events are unknown. We do not know why the aliens are doing this – is it altruistic, or is there some other reason for it? Are we naïve to think that this is possibly good? Are such actions to enslave us or free us?

Clarke deliberately leaves it open for us to ponder upon, like Moon-Watcher, wondering what comes next. There is no clear, happy ending, instead the dawning of a new age. There are as many questions raised as answered. And in that respect, I think that the ending is entirely appropriate.

It is perhaps this idea that makes 2001 Clarke’s best and most ambitious work to date. This is not the mid-life crisis opinions of a venerable SF writer set in a novel. (I’m looking at you, Stranger in a Strange Land.) 2001 is definitely not New Wave, nor fancy in style, it does not test or break the boundaries of literature, science fiction or fiction.

Those who dislike Clarke’s minimalist characterisation and his low-key, understated and sardonic style will not be swayed into praise by reading this book, although I loved it. The big (and frankly amazing!) images are left to the big screen via Kubrick, whilst Clarke gives us the nuts-and-bolts story, a big story told in such a matter-of-fact manner that the future seems possible and cautiously optimistic. I can accept that this view may be a little simplistic and naïve. I’m fairly sure that writers such as Samuel Delany will find little here that relates to them or their writing.

But for me 2001 (the novel, at least) is typical Clarke, in that in its own understated way it gives us a practical future against an epic timeline and at the same time has a distinctly humanitarian plot and a lot of unanswered questions.

Perhaps most of all, 2001 poses the ultimate science-fictional question, “What if?” This is clearly a long way away from the exploding planets and speeding spaceships of Space Opera that many of the general readership perceive SF to be. It is a sign of quality that it is a book I have had to think about – a lot – since I finished reading it. I haven't seen the film yet (although I know that some of my esteemed colleagues have!), but if the film is anything like this, I suspect I will enjoy it also.

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Movies

[July 4, 1968] Youth Is Wasted On The Young (Wild In The Streets)

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by Victoria Silverwolf

Independence Day

It's fitting that this article should appear on the Fourth of July, when we here in the USA celebrate the American Revolution, because I'm going to take a look at a film dealing with another kind of rebellion.

Thank You, AIP

Speaking of American, the American International Pictures company (how's that for a segue?) is responsible for releasing many of the low-budget, teen-oriented films that I rush out to see at my local drive-in. Whether they be Roger Corman's loose adaptations of stories by Edgar Allan Poe, silly beach movies, or motorcycle melodramas, good old AIP provides the kind of lowbrow entertainment I crave.

Naturally, my attention was riveted by a poster for a coming attraction that appeared on the wall of the theater's snack bar.


Suggested for mature audiences, and thus sure to draw in the young folks.

The title suggests another biker flick, but the poster (and the trailer) indicate something unusual. Intrigued, I decided to do a little research.

The teeny-tiny line on the poster stating written by Robert Thom (that's how they treat writers in Hollywood) led me to an issue of Esquire from about a year and a half ago.


Scantily clad young lady on the cover? Must be a science fiction magazine.

The movie is based on Thom's own short story The Day It All Happened, Baby, which appeared in the December 1966 issue.

Does this literary background lead to something more sophisticated than, say, AIP's classic Beach Blanket Bingo? Let's find out.

Meet Max Frost

Right away, we get our antihero's background, from before his birth to adolescence. The first thing we hear is his mother-to-be saying that she doesn't want a baby. Little Max Flatow is born anyway. We hear his mother shouting at him for fooling around with a little girl. We see the furniture in his house covered with plastic.

Teenage Max rebels by destroying the furniture and blowing up the family car with homemade dynamite. After this dramatic scene, we find out the name of the movie we've been watching.


Oh, it's not Gone With the Wind.

A few years later, twenty-four-year old Max has changed his name to Max Frost. He's a rock star now, and a multimillionaire surrounded by a retinue of young folks. The film implies that his popularity makes the Beatles look like small potatoes.


Christopher Jones as Max Frost, doing the thing that makes him an object of devotion to everyone under 30.

Max's mother happens to see her estranged son on TV and recognizes him at once. Instead of resenting her rebellious child, she's proud to be the parent of a smashing success.


Shelley Winters as the mother, entranced by her son's performance.

By the way, the other members of the band are an interesting bunch. One guy is a super-genius who takes care of Max's financial situation. Another has a hook for a hand. A third happens to be a gay man, and the film avoids stereotyping him.


There's also this fellow, an anthropologist called Stanley X. He's played by a young actor named Richard Pryor. I understand he does stand-up comedy as well. You may have seen him on an episode of The Wild, Wild West.

A liberal Democratic politician is running for Senator. His major issue is lowering the voting age to eighteen. Max agrees to appear at one of his rallies.


Hal Holbrook as the candidate. He won the Tony Award a couple of years ago for Best Actor in a Play, based on his performance in the one-man show Mark Twain Tonight!, and got the Emmy last year for repeating the role on TV.

Max surprises him by singing the groovy song Fourteen or Fight. Eighteen just ain't good enough!

(Like all the songs in this film, it's pretty darn catchy. Most of them relate directly to the plot, too.)

The candidate convinces Max to compromise by changing the bellicose Fourteen or Fight to Fifteen and Ready (which loses the alliteration, unfortunately.)


Front cover news!

Max also agrees to tell his millions of fans to avoid violence at the gigantic rallies held for the candidate. (Cue stock footage of real demonstrations full of young people.) Well, you know what the road to Hell is paved with.


A police officer fires his weapon during a riot.

Twelve people die in the ensuing violence. This leads to the best song in the movie, a hauntingly prophetic number called The Shape of Things to Come (with a nod to the novel of the same name by H. G. Wells.)


The cover of the first edition. Who knew Max Frost read classic science fiction?

After the tragedy, the candidate is elected by a landslide, and states rush to lower the voting age.

As luck (and the script) would have it, an elderly congressman dies of cancer. Max's girlfriend just happens to reside in the deceased representative's district, and is barely old enough to run for office. With the help of Max's overwhelming power over the newly enfranchised teens, she wins the vacant seat.


Diane Varsi as ex-child actress, nude model, and perpetually stoned member of Congress Sally LeRoy. She was nominated for an Oscar as Best Supporting Actress in 1957's Peyton Place.

Meanwhile, Max's mother transforms herself to resemble one of her son's followers.


Shelley Winters, hippie chick.

If you think this has been an improbable series of events, wait until you see what happens next.

In their continuing effort to put political power in the hands of the young, Max and his minions dose the members of Congress with LSD. In the chaos that follows, the age requirement for being President is lowered far enough to allow the unstoppable Max to run for the highest office in the nation.


Not a surprise, if you saw the poster.

Ironically enough, Max runs as a Republican. The Grand Old Party knows that young people are in control now, and they want a winner.


To nobody's surprise, Max wins every state except Hawaii. Note the image of Eisenhower behind him.

In one of her many chameleon-like transformations, Max's mother turns into the perfect President's mother.


Winters chews the scenery, in appropriate fashion, throughout most of the film. In this scene, however, she is wonderfully elegant and refined. It's really a fine performance.

The Senator who got elected with Max's help — remember him? — realizes that the rock star is mad with power, and is well on his way to becoming a dictator. He takes desperate measures.


A failed assassination attempt. Given recent events, this is a particularly disturbing scene.

It's at this point that the film really bares its teeth. Max declares that all Americans must retire at the age of thirty. When they reach thirty-five, they are forced to relocate into concentration camps, where they are kept docile with LSD.


Welcome to Paradise.

And for those reluctant to go? Max has stormtroopers ready to deal with that.


Note the peace sign instead of a swastika.

Guess who winds up in the camp with other older folks?


No one is safe.

The movie ends with a final scene that implies things will only get worse.


The end?

This is a biting satire, worthy of Sheckley at his most cynical.  At first, the viewer is tempted to sympathize with Max's acts of rebellion against a smothering mother and a society that sends young men to war but doesn't let them vote.  After all, he becomes rich and famous; isn't that the American dream?  Once he becomes President, however, he reveals himself to be a monster.  It's the old, old story.  Power corrupts.  The final scene provides a chilling bit of dark irony.

And hey, the music is far out.  Dig it, baby, before you get too old.

Four stars. 


And read the book!




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Magazine, Science Fiction/Fantasy, Serial, Uncategorized

[July 2, 1968] What’s the Point? (August 1968 IF)

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by David Levinson

The appearance of doing something

One of the German Empire’s colonies before the First World War was German South West Africa, nestled between what are today South Africa, Angola, and Botswana. After the war, South Africa was granted a mandate over the colony by the League of Nations, similar to Britain’s control over Palestine or France’s over Lebanon and Syria. The League was dissolved in 1946 and replaced by the United Nations. In general, mandates were intended to be replaced by United Nations Trusteeship, and the General Assembly recommended that South West Africa be one of those, however South Africa refused. In 1949, South Africa declared that it was no longer subject to U.N. oversight where South West Africa was concerned, as they began to extend their apartheid system into the former colony. The following year, the International Court ruled that the U.N. should exercise supervision in the administration of the territory in place of the League, but South Africa rejected the Court’s opinion and has refused any involvement by the U.N.

A political cartoon from after the First World War.

Independence movements have swept through Africa over the last decade, and as I noted in January of last year, South West Africa is not immune. The predominant organization is the South West Africa People’s Organisation (SWAPO), and they have been lobbying the U.N. for several years. In 1966, the General Assembly terminated the mandate, giving the U.N. direct supervision of the territory. Last year, they established the United Nations Council for South West Africa to administer the territory until independence. South Africa remains recalcitrant. And so, on June 12th, the Assembly approved Resolution 2372, which, in accordance with the wishes of the people as represented by SWAPO, changed the name to Namibia. Well, that, some finger-wagging at South Africa and the nations supporting the illegal occupation of Namibia, and a request that the Security Council do something to get South Africa out. Don’t hold your breath.

Sam Nujoma (r.), President of SWAPO, shakes hands with Mostafa Rateb Abdel-Wahab, President of the Council for Namibia

Noir, nonsense, and the blatantly obvious

The stories in this month’s IF range from the patently obvious to those that leave the reader wondering why the author bothered. There are a couple of mildly entertaining stops along the way, and the high point may surprise you (even if it is more molehill than mountain).

Supposedly for Rogue Star, which doesn’t have a starship crash. Or this many characters. Art by Chaffee

Whaddya Read?, by H.L. Gold

The founding editor of both IF and Galaxy offers a defense of modern science fiction. Maybe the new stuff isn’t as different as most people seem to think. It’s just better written.

Three stars.

Getting Through University, by Piers Anthony

A few stories ago, dentist Dr. Dillingham was kidnapped by aliens and has since bumbled around the galaxy, from one emergency patient to the next. Now, he’s been given the opportunity to attend dental school and gain proper accreditation. All he needs to do is pass the entrance exam.

The doctor deals with a difficult case instead of prepping for his exam. Art by Vaughn Bodé

Surprisingly, given the previous stories and the author’s general output, I rather liked this one. A lot of what happens is ridiculously obvious, but it doesn’t lead to quite where you might suspect. This is almost the quality that Cele Lalli used to get out of Anthony. Maybe there’s hope for him after all.

A somewhat above average three stars.

If… and When, by Lester del Rey

This month, del Rey looks at Project Orion, the idea of using nuclear bombs to propel a starship. It’s not as crazy as it sounds, but he’s not shy about discussing some of the problems connected with a successful launch of the project (including the hundred billion dollar price tag). This is a clear-headed look at an interesting idea full of possibilities for science fiction authors.

Three stars.

In Another Land, by Mary Urhausen

Seeking to escape a regimented society and a failed love affair, the narrator attempts suicide only to find himself in a utopia. That utopia feels like the sort often imagined 50 or 60 years ago, but this month’s first time author does what she can with it. The shift from first person perspective to third person is slightly jarring, but gives the story what little bite it has. New author Urhausen shows definite skill. Here’s hoping she can hone it into something a little meatier.

Three stars.

Last Dreamer, by A. Bertram Chandler

Commodore John Grimes just wants to go home, but the strangeness at the Rim of the galaxy keeps throwing adventures in his way. This time, it’s a habitable planet with no sun, where everything is out of a bad fairy tale, and everyone speaks in rhymed couplets.

It comes as no surprise that Dan Adkins can’t draw a fire-breathing dragon. Art by Adkins

I generally enjoy the Grimes stories, but this is just silly – and that in a series that has had intelligent rats and an appearance by the Olympian gods. Of course, Chandler knows it’s silly and does get some humor out of the Commodore’s grumpiness about the situation. (He really should have ended a sentence with the word “orange,” though. Let’s see them rhyme that.) Overall, a disappointment; the more so because Chandler teased us with a story from the very beginning of Grimes’s career, but has since stuck with the older man near the end of his service. Let’s see some more of the younger man, whether wet behind the ears or just coming into his prime.

A low three stars.

Merlin Planet, by E.G. Von Wald

Sticking with fantasy pretending it’s science fiction, we have the story of the new man on a Terran trading team on a world where the locals can do magic (thanks to some psychic handwaving; what hath Campbell wrought?). Fortunately, the wizards can be stopped for a time by doing complicated math in your head. Unfortunately, instead of the requested mathematician, headquarters has sent a business law expert.

That’s not how you use a magic staff. Art by Wehrle

If you can get past the magic, the story isn’t terrible. However, it is twice as long as it needs to be. I saw the solution as soon as the new guy revealed he couldn’t do high order math. The rest was just an interminable wait until he figured it out. Right on the line between two and three stars, but the length drags it down for me.

A high two stars.

Song of the Blue Baboon, by Roger Zelazny

Zelazny takes us into the mind of a man who either betrayed Earth to alien invaders or carried out a clever stratagem to defeat them. The problem is that he never engages with his theme. The ambiguity of the ending could be read a couple of ways. Pretty, but shallow.

A low three stars.

What the Old Aliens Left, by D.M. Melton

Here’s our first tale with strong noir elements: an honest cop, a corrupt system, a dangerous dame. The lure of great wealth? The technology left behind by a dead alien civilization.

Most of the action takes place in a bar, too. Art by Brand

Melton continues to improve. He’s never going to get to the point where I’m excited to see his name on the cover, but at least it’s a sign of a probably-entertaining read. He might be getting a handle on writing women, but he’s working from a strong template here, one that’s not necessarily great, but at least gives them their own motives. On the whole, the story probably could have been tightened up here and there. Less going back and forth from the bar, for instance. Still an entertaining read.

Three stars.

West Is West, by Larry Tritten

The inhabitants of the planet West wallow in the cliches of old-school westerns and have names like Randolph Scott Cartwheel, even if many of them are duck-billed saurians. Sheriff Matt Cooper has to bring in Cartwheel for the unprovoked killing of another saurian. Then things go a bit noir, with a femme fatale and the Maltese Longhorn Steer.

A shootout is about the only thing missing from this story. Art by Wehrle

Tritten appears to be another newcomer, though he’s not acknowledged as an IF First. The parody here is laid on with a dumptruck and feels dated. The cliches are familiar, but the western genre has largely moved on from them. There’s no room for Clint Eastwood’s man with no name (though Rowdy Yates would likely feel at home). Ron Goulart could have pulled this off.

A low three stars.

Rogue Star (Part 3 of 3), by Fredrik Pohl and Jack Williamson

This thing doesn’t deserve a recap. I’ll merely note that the climax features actual stars battling each other. The flaws are many, but I’ll limit myself to just two. For starters, “protagonist” Andy Quam should have just stayed home. Everything would have turned out exactly the same, and he wouldn’t have had to deal with all the stress. There are also a number of unresolved subplots, most notably the strange behavior of Earth’s sun. We’re told why it’s happening, but nothing is done about it.

Two stars for this installment and barely two stars for the novel as a whole.

Edmond Hamilton just smashed planets together. What a piker. Art by Gaughan

Summing up

If you told me that, in an issue with stories by the likes of Roger Zelazny and Jack Williamson, the one I would like best was by Piers Anthony, I’d have laughed at you. Look, it’s not a great story; it’s just the one that annoyed me the least. Maybe the summer heat is making me cranky.

That’s a promising lineup.




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