Tag Archives: 1970

[August 22, 1970] Falling From Great Heights (World Cinema: The Stolen Airship & Herostratus)

Black & White Photo of writer of piece Kris Vyas-Mall
By Mx Kris Vyas-Myall

Of the three channels on British television, the one that averages the best quality of output is easily BBC2. Not that all their output is entirely to my taste. For every Disco 2 and Laugh-In there is a High Chapparal or Pot Black

However, one section I try not to miss is their World Cinema slot. Whilst other shut-ins on a Friday Night are watching Manhunt or It’s A Knockout, I enjoy settling down to discover what gems from around the world I might not otherwise see.

A montage of six Non-English film posters, in two roses of three. Clockwise from top left:
1. Cuban poster for Memorias del Subdesarrollo (Memories of Underdevelopment), showing a minimal cartoon-like black and white figure crouched with an oversized head, on a plain black background.
2. Serbian poster for Skupljači Perja (I Even Met Happy Gypsies), showing a man and woman in traditional dress carrying baskets, in a grainy black-and-white photograph.
3. Czech poster for Lásky jedné plavovlásky (Loves of a Blonde), showing a close-up side profile of a woman’s face, with bold red and black typography and the image of razorblades in a circle imposed on his shoulder.
4. Japanese poster for Andesu no hanayome (The Bride of the Andes), showing a smiling woman in a hat and poncho against a mountain landscape, smaller figures of villagers and riders on horseback below.
5. Italian poster for Cronaca Familiare (Family Diary), showing Marcello Mastroianni embracing a woman, rendered in painted style with bold yellow lettering.
6. French poster for Vie Privée (A Very Private Affair), showing an illustration of Brigitte Bardot with blonde hair and wide eyes peeking out from behind a black coat collar on a cream background.
Some of the films in the World Cinema slot recently. Clockwise from top left: Memories of Under-Development (1968); Happy Gypsies (1967); Loves of a Blonde (1965); Bride of the Andes (1966); Family Diary (1962); A Very Private Affair (1962).

Now there is a definite bias in the movie selection. Over the last two years, by my count, over half the films have been French and another third are from elsewhere in Europe (notably a heavy proportion from Italy and Eastern Europe). There have only been two films from Latin America (one from Cuba, another Mexico), two from Asia (both from Japan) and nothing from Africa (unless you count a French film shot in Tunisia).

They are also overwhelmingly within New Wave or Neorealist style with multiple films by directors like Truffaut and Visconti. Very few are broad comedy, crime, musical or melodrama, with no sight of pieces such as Les Grandes Vacances or Lemonade Joe. You are much more likely to see a slow black and white shot of an egg being cracked than someone cracking a joke.

As such, there is not a huge amount of fantastical content involved, even their love of Italian and French cinema could not give us Alphaville or The Tenth Victim (although The Batman-esque Judex a couple of years ago was a nice surprise). However, I do want to review two that have come on recently that are of possible interest to the Journey audience. One from Czechoslovakia and an Experimental film from here in Britain.

Continue reading [August 22, 1970] Falling From Great Heights (World Cinema: The Stolen Airship & Herostratus)

[August 20, 1970] Hour of the Horde meets The Star Virus (August 1970 Galactoscope)

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Drawing of people at an elegant dinner party.


This month's Galactoscope round-up of science fiction offers up some familiar names, some new names, and heights that don't exactly soar along with depths that don't precisely plump.  See what's worth your six bits, and what should be left on the shelf this August!

A line up of four book covers, in order: Gordon Dickson, Hour of the Horde. Dennis Wheatley, Gateway to Hell. Barrington J Bayley, The Star Virus. John Jakes, Mask of Chaos.

Continue reading [August 20, 1970] Hour of the Horde meets The Star Virus (August 1970 Galactoscope)

[August 18, 1970] Landed minority (September 1970 Fantasy and Science Fiction)

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Colour cartoon of well-dressed white people at a cocktail party engaged in conversations



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

Venus or Borscht

Just three days ago, the USSR launched its seventh probe to the second planet, continuing to run up the score against America in the exploration of that world.

Black & white photograph of a rocket on its launchpad surrounded by a gantry framework
Venera 6 on the launchpad—presumably, Venera 7 was launched by a similar rocket

In four months, Venus 7 will complete its 217 million mile trip.  Like its three predecessors, Venuses 5 and 6 and Venus 4, the seventh Venus probe is designed as a lander.  Of course, there's a little dispute between the two superpowers as to whether any of the prior trio actually reached the surface.  Several Western scientists contend that Venuses 4-6 all burned up on their way through the seething, hot atmosphere.

Perhaps Venus 7 will make it all the way down.  It weighs 105 pounds more than its predecessors, tipping the scale to 2,596 pounds.  Maybe some of that is armor or insulation.  Either way, at least Venus 7 is safely on course, which is better than some of its predecessors.  Many Soviet "Cosmos" satellites are suspected to have been would-be interplanetary probes whose rockets failed to refire once the craft reached Earth orbit.

Black & white photograph of five white-coated engineers gathered around a all sides of a complex machine approximately four meters in height.  Various hoses and pressure chambers are in evidence around the probe's chassis, and there appears to be an umbrella-like dish facing towards the camera
Engineers working on Venera 6 (we don't have pictures of Venera 7 yet)

Since Neil Armstrong first set foot on the lunar surface, the Soviets have maintained that they were never in the Moon Race, preferring, instead, to concentrate on exploring the planets and building space stations.  Indeed, it's likely the Reds will put up a Venus 8 within the week, just as they sent Venuses 5 and 6 as twins last year.  We've only managed two (highly successful) flybys so far.

Ad Venera per aspera.  I don't care who explores the planets so long as I get to read the research results!

Summertime

The results are in, however, for the latest issue of F&SF.  Plus, I've got a little surprise for you at the end.  Let's see what the Ferman family has for us this month:

Cover of the September issue of Fantasy & Science Fiction, featuring Thomas Burnett Swann, Isaac Asimov, James Blish, and David R Bunch.  The illustration is of a softly burnished robot waiting impatiently at a 6th avenue cross-walk, arms on hips and vacuum tubes aglow, where both sidewalk and street have been been decayed by time into sand and dust
by Mel Hunter

Continue reading [August 18, 1970] Landed minority (September 1970 Fantasy and Science Fiction)

(August 16, 1970) It All Comes Tumbling Down [Vision of Tomorrow #12]

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Black & White Photo of writer of piece Kris Vyas-Mall
By Mx Kris Vyas-Myall

Last month, I was so optimistic. Plans were afoot to expand the Graham Publishing SF magazines into three. First, as I touched on previously was to be Sword and Sorcery.

Cover for unpublished Sword & Sorcery #1 showing a Conan-esque barbarian leading a woman in a state of undress (ala Deja Thoris in Princess of Mars). Behind them is a dark gothic tower on a high mountain and skull like demon face watches over them from the sky.

This was to be a fantasy-oriented magazine edited by Ken Bulmer, which already had a bunch of great names attached to its first issue, including Michael Moorcock, John Brunner and Brian W. Aldiss. This project went as far as to have proofs printed, some of which have been making their way around fan circles (if someone has one, I would appreciate a copy).

The other was a Walter Gillings-edited venture called Vanguard. This would have been a reprint magazine akin to Famous Science Fiction but with more focus on British and Australian authors, John Russell Fearn in particular.

However, Graham has decided to instead cut his losses and has pulled the entire venture. Therefore, not only are the other two projects stillborn, this is going to be the final ever issue of Vision of Tomorrow.

Just as with the various New Worlds problems, this untimely demise seems to owe more to behind-the-scenes issues than to the actual quality of the magazine. Firstly, the distribution problem. I buy direct in order to avoid any such difficulties, but most people rely on shops stocking the magazine. New English Library are supposed to be the distributor but I know that even determined fans have struggled to see a copy out in the wild.

There has also been the global paper cost rise. As economies have expanded throughout the prior decade, paper demand has skyrocketed. Unfortunately, you cannot easily just harvest more trees into wood pulp and expand the number of saws in a mill. The whole cycle of expanding the forest areas to be harvested can take decades. There have been experiments with faster growing materials and moving to storing of more records on microfiche, but these are in the early stages and unlikely to be instituted in newly industrializing countries around the world. This all means that the average cost of printing a magazine has gone through the roof, which has made new ventures very difficult.

Finally, there seems to have been some commotions behind the scenes. The associate editor was removed from his post a few months back and there are reports of disagreements over content and format between Graham and Harbottle. How much this impacted the overall fortunes of the magazine I cannot confidently to say, but it is hard to imagine it has made anything easier.

So let us all raise our glasses and toast to the final issue of Vision of Tomorrow, an underappreciated venture, and mourn for what could have been:

Vision of Tomorrow #12

Vision of Tomorrow #12 Cover Illustrating Cassandra's Castle, showing Cassandra flying up into the sky on a jetpack as a large red hand extends from her abstract castle, an alien landscape in the background.
Cover by Stanley Pitt, and, to my eyes, the best they have done

Continue reading (August 16, 1970) It All Comes Tumbling Down [Vision of Tomorrow #12]

[August 14, 1970] Intrigue, Murder and Magic: Deryni Rising by Katherine Kurtz

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by Cora Buhlert

The Fantasy Resurgence

The fantasy genre, science fiction's weirder sister, is currently experiencing something of a boom. The enormous success of the paperback editions of J.R.R. Tolkien's Lord of the Rings and Lancer's reprints of Robert E. Howard's stories about Conan the Cimmerian have whetted the public's appetite for more fantastic fiction. As a result, many of the fantasy works of yesterday, long since relegated to dusty second-hand bookstores, are coming back into print.

In particular, the Ballantine Adult Fantasy series has been doing the Lord's work to bring long out of print fantasy fiction from the first half of the century back onto bookstore shelves in affordable paperback editions. I do quibble a bit with the "adult" part of the series title, since it reinforces the misconception that fantasy is mainly intended for children, but I cannot quibble with the series itself and the selection of titles, which is excellent. I know that I have been harsh on Lin Carter's work as a writer in the past, but he truly seems to have found his calling as editor of the Ballantine Adult Fantasy series.

Whenever I spot one of the distinctive psychedelic covers of the Ballantine Adult Fantasy series in the spinner rack of my trusty import bookstore, I pick it up at once, whether I'm familiar with the author or not. Because I know that these colourful covers and the unicorn colophon guarantee a good read.

So of course, I had to buy the latest offering in the series, already the nineteenth book to appear under the Ballantine Adult Fantasy banner: Deryni Rising by Katherine Kurtz.

Cover of Deryni Rising by Katherine Kurtz with an Introduction by Lin Carter. The cover is medievally themed with youth carrying a stricken, bearded man inset in a circle, flanked by a man in a page-boy haircut drawing a dagger facing a queenly looking woman holding a bottle containing a red liquid.
Cover by Bob Pepper

Continue reading [August 14, 1970] Intrigue, Murder and Magic: Deryni Rising by Katherine Kurtz

[August 12, 1970] New Worlds of Fantasy #2

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A photo portrait of Winona Menezes. She is a woman with light-brown skin, long black curly hair and dark eyes. She is smiling at the camera.

by Winona Menezes

Paperback cover featuring a black cat with large claws and angry red and yellow eyes on a green yellow and red background. The text reads:
NEW WORLDS OF FANTASY
edited by Terry Carr
#2
Never before in paperback:
new tales of strange and awesome worlds, by 
ROBERT SHECKLEY HARRY HARRISON
ROGER ZELANZY ROBERT BLOCH
and many more

Cover by Kelly Freas

After the success of New Worlds of Fantasy, despite being almost exclusively a set of reprints, Terry Carr has put together a second fantasy anthology, including a several stories published herein for the first time. There are many unsurprising names in the list, but there are also some plucked from relative obscurity. No two stories have much in common, but all share an evocative, dreamlike quality that give the collection its sense of cohesion.

Continue reading [August 12, 1970] New Worlds of Fantasy #2

[August 10, 1970] Orn-ery (September 1970 Amazing)


by John Boston

The September Amazing has a new and rather pleasing look.  Editor White recently announced that he had wrested control of the magazine’s visual presentation from Sol Cohen and would be using American artists and dropping the former bulk purchases of covers from European magazines.  The home-grown covers started a couple of issues ago, and now here is “The New Amazing Science Fiction Stories,” in a new and reasonably attractive type face, over an agreeable cover by Jeff Jones portraying a slightly fuzzy figure in a space suit floating in the void, with a planet almost totally eclipsing its sun in the background.  Only problem is that the figure looks a bit like it’s sitting on the inside bend of the thin crescent of light at the edge of the planet, recalling entirely too many cartoonish advertisements of previous decades.  Oh well.  It still looks nice if you don’t think about it too much.

Cover of the September 1970 Amazing emblazoned “The <i/>New Amazing Science Fiction Stories,” in a new and reasonably attractive type face, over an agreeable cover by Jeff Jones portraying a slightly fuzzy figure in a space suit floating in the void, with a planet almost totally eclipsing its sun in the background.  Only problem is that the figure looks a bit like it’s sitting on the inside bend of the thin crescent of light at the edge of the planet, recalling entirely too many cartoonish advertisements of previous decades.  Oh well.  It still looks nice if you don’t think about it too much.
by Jeff Jones

The departments are as usual, with the book reviews fortunately restored after last issue’s absence.  Most notable is Greg Benford’s review of Joanna Russ’s And Chaos Died, which begins: “Reading this, I began to feel that it just might be the best sf novel ever written”; continues: “It is sad, then, to see this marvelous spirit succumb to an escalation of philosophical level the book just can’t support”; and ends: “Novels this ambitious always fail.  But it is seldom that you see an artist writing over the heads of 90% of the writers in this field (including me), and it is a welcome sight.  This is a great book.  Read it.” After that, Dennis O’Neil on The Collected Works of Buck Rogers in the 25th Century, Benford again on Vernor Vinge’s Grimm’s World, and O’Neil again on James Blish’s Star Trek novel Spock Must Die, all seem anticlimactic.

The letter column begins with a different sort of fireworks, with James Blish in at least medium-high dudgeon over editor White’s review of Blish’s Black Easter, which he says “contains so many errors of fact or implication that I must ask you to publish these corrections.” White responds sharply and at length, stating among other things “You have not commented on my principle [sic] charges of dishonesty. . . .” Something tells me we won’t be seeing any more of Mr. Blish in Amazing’s review column, or anywhere else in the magazine.  Also notable is a letter from Hector R. Pessina of Buenos Aires describing the SF magazine landscape (rather sparse) in Argentina.  In his responses to other letters, White corrects one correspondent: the publisher’s string of SF reprint magazines doesn’t cost money, it makes money to help support Amazing and Fantastic.  And in response to SF scholar R. Reginald, he relates the true history of his collaborative pseudonym Norman Archer. 

White’s editorial includes comments on the editing of the serial Orn, discussed below, and also on his general policy toward serials—avoid cutting, run them in two parts because of the magazine’s bimonthly schedule (and there’s no plan to take it monthly) and because the point of running them is “to publish important new novels, not to coerce you into buying our next issue.” White thinks “Most modern sf readers . . . want at least one ‘major’ item into which they can sink their teeth. . . . .  at least a piece of sufficient length for the author to stretch out and probe his protagonists, and one in which they, as readers, can ‘live’ for a while,” and they want it in chunks large enough to be emotionally satisfying.

Continue reading [August 10, 1970] Orn-ery (September 1970 Amazing)

[August 8, 1970] Wargaming is square again… (3M's Feudal)

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

Fish or fowl?

Not too long ago, I picked up an interesting-looking game from a local hobby store.  Sitting next to a number of other "bookshelf" games with leatherette-style boxes designed to look pretty all lined up, dimensioned like overlarge volumes—as opposed to more luridly covered diversions like Monopoly or Clue—was something called Feudal.

Black and white catalog entry for 'Feudal' with a photograph of a game in progress, showing the pegboard with the various pieces deployed.  The copy claims that it is suitable for two to six players
A 1970 catalog entry for the game

From the ad I'd seen in the paper, as well as the cover art, I'd thought it was some kind of wargame.  Certainly, the ad called it such.  But from the picture of the pieces and gameboard on the back, I gathered it was a new variant of chess.

The truth is somewhere in between…

Colour box-art illustration of a checkered board set in front of a castle as though a field of battle.  A reproduction of a mounted swordsman is centered amongst the arrayed game pieces, flanked by an archer and several men at arms, facing off against a similarly composed defending force
Box top

Colour box-art photograph of a game in progress in a 'medieval' themed room
Box reverse

While Feudal ostensibly seats up to 6 players, it is at its heart, a two player game.  Each player starts with a castle piece, capture of which loses it for the owner.  Castles may be set up anywhere on the board, and they can only be entered (and taken) by way of their unwalled Castle Green.

Protecting this Castle are three "Royalty" pieces and any number of 10-piece "Armies"—one is standard, playing with two or three is offered as "exciting".  Each unit, as in chess, has specific movement capabilities.  For instance, the ones on horses may move any number of squares in any direction.  An army's two Sergeants may move up to 12 spaces diagonally or 1 space horizontally/vertically, whereas an army's four Pikeman are the opposite, moving 12 spaces horizontally/vertically or 1 space diagonally.  The lowly lone Squire moves one space horizontally/vertically followed by a space diagonally—functionally equivalent to a chess knight.  The King moves one or two spaces in any direction.  Finally, the sole Archer shoots or moves up to three spaces in any direction.

A unit is captured (eliminated) when an enemy walks into it (or an archer shoots it).  No dice are rolled.  No Combat Results Table is consulted. 

Colour photograph of a B&W cardstock divider with movement diagrams (and silhouettes) for Kings, Princes/Dukes/Knights, Sergeants, Archers, Pikemen, and Squires
Map divider and piece summary

Sounds a lot like chess, doesn't it?  Ah, but look at the board.  You'll note that it has terrain markings on it, like a wargame.

Colour photograph of the light-green game board from above.  Scattered across the squares of the board are variously configured groups of contiguous squares in either solid (dark) green or with green wavy lines.  A vertically screening divider is positioned across the center of the board
Game board with divider

The squares with wavy lines are "rough" (one would think they'd be forest) and the dark green squares denote mountains.  Horsies cannot move across rough terrain, and no unit can move across a mountain or the walled ends of a Castle.  Also, archers cannot shoot over mountains or castles.

To enter a Castle and win the game, a unit must stop on the Castle Green and next turn, march inside.  Thus, the defender has a turn to stop the siege.  The other way to win is to eliminate all of the opponent's "royalty" (comprising the King and two of the mounted units)

Unlike chess, a player may move every piece in his/her control every turn.  However, like chess, the player must move at least one unit in each army each turn. 

Units are set up blind—that's what the divider is for—a la Stratego.  They may be placed anywhere that they can move (Castles may be set up anywhere).

And that's all there is to Feudal.

Tally Ho!

Janice and I played a couple of games to completion, and I think I'm starting to get a handle on this game.  She won the first one, and I won the second, both of us making blunders that mostly canceled each other out.  In the end, I think it's who went first that made the biggest difference.

Colour Photograph of a seated white woman looking intently at the game board, pieces all arrayed before her
Just after setup, Janice considers her first move

That's because the player who goes first has a slight advantage.  Making use of the blind set-up, they can sometimes pick off units for whom there is no good counterattack revenge, either on the first or second turns.  Of course, the player going second gets to pick which side of the map is used, and that means a better-defended castle.  On the third hand, a cramped defensive arrangement can be hard to maneuver in.

Colour Photograph of a seated white man with concerned expression reaching to move one of his remaining pieces
If I look glum, note the number of my dead pieces behind the board

It's a tricky game at first, particularly minding all the diagonals through which the Sergeants and mounted troops can attack.  The infinite movement of the horsemen vs. the 12 space limit for Pikemen and Sergeants is notable, although the fact that horses can't move through rough mitigates that.  In the end, the Sergeants are more powerful than the Pikemen because diagonal movement is 44% greater than horizontal movement (geometry!) and because so many of the terrain features have diagonal cut-throughs.

After Battle Report

Colour Photograph of a close-up of the board, focusing on white's king piece which has been nestled into the protection of a mountain.
He is the Castle Green Preservation Society…

Feudal feels very chess-like to me, and because it is impossible to maneuver into position to kill without making yourself vulnerable, few deaths occur without some kind of counterattack.  Thus, by the end of the game, few pieces are left standing.  Janice argues that Feudal feels more like a wargame, albeit a simplistic one.  After all, if chess straddles the line between abstract games like checkers and Othello, and simple wargames like Tactics II, then Feudal surely must reside in wargame territory.

Either way, it was a fun diversion, and I wouldn't mind a rematch at some point, now that I am starting to understand things.  It may turn out that play is stereotyped and dull after a while, or it may be that there are hidden gems of strategy. 

Get yourself a copy and see what you think!

Colour photograph of a magazine advertisement, purporting to show 'How to be a feudal king (without losing your humility)'.  A white man and woman are posed behind a game board, with white and black pieces arranged in a dramatic vignette.
A 1969 advertisement for the game



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[August 6, 1970] A Spooky Spook: Larry Brent by Dan Shocker

A color headshot of a white woman with long dark brown hair.  She is wearing a headband and a dark red turtleneck, and is smiling at the camera.
by Cora Buhlert

A Marriage of Necessity

For more than a hundred years, the two great German shipping companies Hamburg-Amerikanische Packetfahrt-Actien-Gesellschaft, Hapag for short, founded in Hamburg in 1847, and Norddeutscher Lloyd AG, founded in Bremen in 1857, have been rivals. My father, grandfather and great-uncle all worked for the Norddeutscher Lloyd, my grandfather as a captain, my great-uncle as a doorman and my father as a naval architect.

However, on July 28, 1970, what once seemed unthinkable, happened. The stockholders of Hapag and the Nordddeutscher Lloyd respectively voted to merge the two companies and form the Hapag-Lloyd AG.

A color photograph of the upper deck of a ship against a bright blue sky.  A man in a white jacket and black pants stands in front of a yellow smokestack which is about twice his height.  Most of it is painted yellow.  At the top three stripes are painted in blue, white, and red.  The man is raising a white flag with a blue symbol on it which shows a ship's anchor crossed with an old-fashioned skeleton key, with a wreath woven around the crossing point. The flag's rope is connected to a white mast pole to his right.
A symbolic image of the new union: The flag of the Norddeutscher Lloyd is being pulled up on a vessels with a smoke stack in Hapag's livery.
A black and white photo of a shipping container sitting on tarps on the deck of a ship.  Crane scaffolding and mast poles with myriads of cables stretched in multiple directions ascend out of the frame behind it.  The container is made of ten sheets of metal connected along the vertical edges with rivets.  Large black stickers with white letters have been placed on the middle six panels, forming the company name Hapag Lloyd.
A Hapag-Lloyd shipping container.

Continue reading [August 6, 1970] A Spooky Spook: Larry Brent by Dan Shocker

[August 4, 1970] Through the Wasteland (Harlan Ellison's the Glass Teat)

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

My World and Welcome to It

Have you ever found that if you read too much Harlan Ellison, you end up sounding like the guy?  That same glib, hip, outraged polemic dripping with occasional yiddish and modisms.  It's cool for a while, but it ultimately gets a little tiresome. 

That's why it's a good idea, kiddies, to sample his latest collection, The Glass Teat, a little at a time.  Otherwise, you might find yourself with acid in the belly and fire at your typing fingers.

Unlike the Ellison books we've reviewed before here at the Journey, Teat is a wholly unique animal—a collection of articles Harlan wrote for The Los Angeles Free Press (the "Freep") as its TV columnist from September 1968 to January 1970.  For the most part, these are not reviews; Harlan was not hired as a critic of individual shows, but the whole small screen zeitgeist.  And because the subject that most interests Harlan (just ahead of skirts and social justice) is Harlan, the column serves as a kind of memoir, the travel diary of a TV writer.  Hey, write what you know, right?

Interestingly, though I consider myself something of an Ellison devotee (it's a love-hate relationship, but no one can argue the fellow can't compose), I found out about his latest opus in a roundabout fashion.  Dig, I was reading the June 1970 issue of Yandro, wherein I found a delightful column by Liz Fishman.  It's worth reading—you can write the Coulsons to see if they can get you a back issue, assuming the mimeo stencils and their cantankerous Gestetner is up for another run.

An image of the column heading, reading 'Through The Wringer -- Column by Liz Fishman'. Liz's name is in all lower caps.

Long story short, after being accosted by a lech who puts Laugh-In's Tyrone F. Horneigh to shame, Liz was saved by a sunny "Matisse painting come to life".  They got along just fine until said savior noticed what Liz was reading.  It was "sho-nuff a dirty book."  That is to say, it was by Ellison, and it had the typical blue phrases that punctuate his writing.  The kind of shit you'd never find in my work.

Well, upon learning about Harlan's new book and its unusual nature, I scoured the bookstores of San Diego and managed to come up with a used, hardly touched, copy.  Its spine was as smooth as a chiropractor's nightmare.  As a result, I didn't get much off the cover price, but I don't mind supporting local business.

Land of the Giants

Leo and Diane Dillon cover for
Cover by Leo and Diane Dillon

So open the cover, and what have we got?

Continue reading [August 4, 1970] Through the Wasteland (Harlan Ellison's the Glass Teat)