Hugo Nomination Recommendations: 1958

Potential Hugo nominations for the 1958 Hugos (stories from 1957)

I made a post on Facebook about possible Hugo nominations for stories published in 1957 -- a year that was not well represented in Hugo history, due to the vagaries of changing Hugo eligibility rules, radically different Hugo categories from year to year, including no fiction Hugos in 1957, and a generally cavalier attitude towards the whole process. That post engendered a lot of productive comments, and I figured I'd make an updated version to preserve it on my blog. Thanks to Andrew Breitenbach, David Merrill, Gary Farber, Piet Nel, and Paul Fraser (among others) for suggestions for further stories, and for productive suggestions for more details about Hugo history.

Wandering through the history of the Hugos in the 1950s -- a chaotic time, with no well established rules, with constantly changing award categories, with a con committee, in one case, refusing to give fiction awards at all ... I realized that no stories from 1957 won a Hugo. (The 1958 Hugo for short story went to "Or All the Seas With Oysters", by Avram Davidson (Galaxy, May 1958) and the Hugo for -- get this -- "Novel or Novelette" went to "The Big Time", by Fritz Leiber, a novel (albeit very short) that was serialized in Galaxy, March and April 1958. In 1957, no Hugos for fiction were given.

I note as well that Richard A. Lupoff's excellent anthology What If?, Volume 1, selected "alternate Hugos" for the years 1952 through 1958, and his choice from 1957 was "The Mile-Long Spaceship", by Kate Wilhelm.

So, what the heck -- here's my list of proposed fiction nominees from 1957. In my first post for this year, before I had decided to extend the posts through the 1950s, I used the categories Novel, Novelette, and Short Story, and I only listed my five story nomination suggestion. I'm revising it so that for each year I am using the contemporary four short fiction categories, and adding mention of other possible nominees. That said, all the stories I listed in "Novelette" were actually novelettes ... though I mentioned "The Last Canticle" as a good candidate that I had passed over because it's part of A Canticle for Leibowitz. 

Novel:

Citizen of the Galaxy, by Robert A. Heinlein

The Black Cloud, by Fred Hoyle

Wasp, by Eric Frank Russell

On the Beach, by Nevil Shute

The Midwich Cuckoos, by John Wyndham

Other possibilities:

Doomsday Morning, by C. L. Moore

Atlas Shrugged, by Ayn Rand

"The Dawning Light", by "Robert Randall" (Robert Silverberg and Randall Garrett)

I would vote for Citizen of the Galaxy among this selection.

Atlas Shrugged, it can be argued, is the most commercially successful, and most famous, SF novel of 1957. Doomsday Morning was C. L. Moore's last novel. The Silverberg/Garrett novel is pretty fun, if slight, the second of two they wrote for Astounding about the planet Nidor.

(By the way, The Naked Sun, by Isaac Asimov, is often cited as a 1957 novel, but its serialization in Astounding ended in December 1956. The same is true of Heinlein's The Door Into Summer, serialized in F&SF.)

Note that four of my suggested novel nominees (all except Heinlein) were born and raised in the UK (Shute moved to Australia in 1950.) Had this nomination list been real (unlikely) and had the Heinlein been replaced by Atlas Shrugged (even more unlikely) all five nominees would have been born and raised outside the US. (Rand immigrated from the Soviet Union at the age of 21.)

Novella:

"Profession", by Isaac Asimov (Astounding, July)

"The Night of Light", by Philip José Farmer (F&SF, June) 

"The Last Canticle", by Walter M. Miller, Jr. (F&SF, February) 

"The Lineman", by Walter M. Miller, Jr. (F&SF, August) 

"Lone Star Planet", by H. Beam Piper and John J. McGuire (Fantastic Universe, March)

Other Possibilities:

"Get Out of my Sky", by James Blish (Astounding, January and February)

"Nuisance Value", by Eric Frank Russell (Astounding, January)

My vote in this category goes to Asimov's "Profession", really a quite strong novella. "The Last Canticle" would be the other possibility. If, as I assume, "The Night of Light" is the first version of Farmer's novel Night of Light -- it's the first version of perhaps Jimi Hendrix' favorite novel. As for "Get Out of my Sky", it's extremely frustrating. The first part is wonderful -- then Blish realized he was trying to sell to Campbell, and ruined it with an idiotic psi-based twist.

Novelette:

"Call Me Joe", by Poul Anderson (Astounding, April)

"The Queer Ones", by Leigh Brackett (Venture, March)

"Wilderness", by Zenna Henderson (F&SF, January)

"The Dying Man" aka "Dio", by Damon Knight (Infinity, September)

"Omnilingual", by H. Beam Piper (Astounding, February)

"It Opens the Sky", by Theodore Sturgeon (Venture, November)

Other possibilities:

"Brake", by Poul Anderson (Astounding, August)

"Ideas Die Hard", by Isaac Asimov (Galaxy, October)

"The Tunesmith", by Lloyd Biggle, Jr. (If, August)

"Nor Iron Bars", by James Blish (Infinity, November) 

"All the Colors of the Rainbow", by Leigh Brackett (Venture, November)

"The Menace from Earth", by Robert A. Heinlein (F&SF, August)

A strong category, I think. My vote goes to "The Queer Ones", a fairly little known Brackett story, but very good. 

Short Story:

"Hunting Machine", by Carol Emshwiller (Science Fiction Stories, May)

"Journeys End", by Poul Anderson (F&SF, February)

"The Men Return", by Jack Vance (Infinity, July)

"The Man Who Traveled in Elephants", by Robert A. Heinlein (Saturn, October)

"Manhole 69", by J. G. Ballard (New Worlds, November)

"Affair with a Green Monkey", by Theodore Sturgeon (Venture, May)

Other possibilities:

"Let's Be Frank", by Brian W. Aldiss (Science Fantasy, June)

"The Long Remembering", by Poul Anderson (F&SF, November)

"Build-Up" aka "The Concentration City", by J. G. Ballard (New Worlds, January)

"Forever Stenn" aka "The Ridge Around the World", by Algis Budrys (Satellite, December)

"The War is Over", by Algis Budrys (Astounding, February)

"Help! I am Dr. Morris Goldpepper", by Avram Davidson (Galaxy, July)

"Featherbed on Chlyntha", by Miriam Allen de Ford (Venture, November) 

"The Lady Was a Tramp", by "Rose Sharon" (Judith Merril) (Venture, March)

"Mark Elf", by Cordwainer Smith (Paul M. A. Linebarger) (Saturn, May)

"Eithne", by "Idris Seabright" (Margaret St. Clair) (F&SF, July)

"Warm Man", by Robert Silverberg (F&SF, May)

"The Ifth of Oofth", by Walter Tevis (Galaxy, April)

"The Mile-Long Spaceship", by Kate Wilhelm (Astounding, April)

"The Men Return", is my choice among these short stories, one of my favorite shorter Vance stories. Of the less familiar stories here, I recommend a look at Walter Tevis' clever "The Ifth of Oofth", and Kate Wilhelm's first significant story, "The Mile-Long Spaceship". I also love, though it's kind of clunky, Algis Budrys' "The War is Over", which just wowed me when I read it as a teen. 

I note, too, that the "Big Three" (Astounding, Galaxy, F&SF) are represented only by a novella, two novelettes and one short story among my "nominees". (And, to be fair, one novel.)

Other notes about 1958: it was the only year of the Hugos in which the winners did not get a rocket ship -- the award this year was a plaque. Also, 1958 was the last year in which there was not a codified process by which a fan vote selected a set of nominees, followed by a general vote for the Hugo. 

Hugo Nomination Recommendations, 1957

This post will discuss potential Hugo nominees, and winners, published in 1956. According to present day rules, stories published in 1956 would have been eligible for the 1957 Hugos. However, there were no fiction Hugos in 1957. According to the rules in place for the 1956 Hugos, stories from June 1955 through June 1956 were eligible, and in fact the 1956 winners included two stories from 1956 (the novel winner, Double Star, and the novelette winner, "Exploration Team".) In the lists below, I've marked 1956 Hugo nominees with a *.

As ever, I'll mention Richard Lupoff's Hugo choice for 1956, from his anthology What If? Volume 1: "The Man Who Came Early", by Poul Anderson.

Novels:

The Naked Sun, by Isaac Asimov

The Stars My Destination aka Tiger! Tiger!, by Alfred Bester

They Shall Have Stars, by James Blish

The City and the Stars, by Arthur C. Clarke

Double Star, by Robart A. Heinlein*

Under Pressure, by Frank Herbert

Other possibilies:

Star Ways, by Poul Anderson

The Death of Grass aka No Blade of Grass, by John Christopher

Nerves, by Lester Del Rey

The Man Who Japed, by Philip K. Dick

Pincher Martin, by William Golding

The Door Into Summer, by Robert A. Heinlein

The Last Battle, by C. S. Lewis

Plague Ship, by Andre Norton

The One Hundred and One Dalmatians, by Dodie Smith

To Live Forever aka Clarges, by Jack Vance

Actually this is quite a decent set of novels, and I stretched the nomination list to six, and actually the John Christopher and Jack Vance novels, and even The Door Into Summer, could have displaced a couple of my nominations. I list Pincher Martin, a novel I like a great deal, because it's technically fantasy (I won't say in what way because that might be a spoiler) but I think it's more usefully regarded as contemporary fiction. Dodie Smith's children's book is great fun, but only peripherally fantastical, though the sequel, The Starlight Barking, is explicitly SF. (Alas, I greatly dislike The Starlight Barking.) The City and the Stars, of course, is an extensively rewritten version of Clarke's first novel, Against the Fall of Night, but I sometimes prefer the earlier version. (And one might as well read both -- the differences are quite significant.)

Double Star won the Hugo in 1956, and I like it a lot; but -- and I don't think this will surprise anyone -- my easy, slam dunk, choice for the 1957 Hugo (had I had a chance to vote two years before I was born!) would be The Stars My Destination. (In reality, its eligibility rests on the technicality that the UK edition, Tiger! Tiger!, appeared in 1956. The US serialization, in Galaxy, didn't conclude until the January 1957 issue (which of course could be read in 1956) and the book appeared a couple of months later.)

Novella:

"Bodyguard", by "Christopher Grimm" (H. L. Gold) (Galaxy, February)

"Envoy Extraordinary", by William Golding (Sometime, Never)

"Boy in Darkness", by Mervyn Peake (Sometime, Never)

"Plus X", by Eric Frank Russell (Astounding, June)

"The Ties of Earth", by James H. Schmitz (Galaxy, November 1955, January 1956)

"The Shores of Night", by Thomas N. Scortia (The Best Science-Fiction Stories and Novels: 1956)

"Consider Her Ways", by John Wyndham (Sometime, Never)

This list of potential novella winners is interesting to me. I list three from a single, quite remarkable, volume, Sometime, Never, which featured striking works by three British writers. The Scortia story seems to have appeared first in Ted Dikty's Best of the Year volume! 

If there was a separate novella category at that time, I suspect "Plus X" would have won. My choice would have been ... I don't know! Maybe "Consider Her Ways"? Maybe "Bodyguard", a now obscure story that I quite liked. Maybe "The Ties of Earth", a very unusual departure for James Schmitz -- not really a great story, kind of a mess, but -- interesting.

Novelette:

"The Man Who Came Early", by Poul Anderson (F&SF, June)

"The Dead Past", by Isaac Asimov (Astounding, April)

"A Time to Survive" aka "Seeding Program", by James Blish (F&SF, February)

"Brightside Crossing", by Alan E. Nourse (Galaxy, January)*

"And Now the News ...", by Theodore Sturgeon (F&SF, September)

Other possibilies:

"Non-Stop", by Brian W. Aldiss (Science Fantasy, February)

"A Gun for Dinosaur", by L. Sprague de Camp (Galaxy, March)*

"The Minority Report", by Philip K. Dick (Fantastic Universe, January)

"Volpla", by Wyman Guin (Galaxy, May)

"Exploration Team", by Murray Leinster (Astounding, March)*

"Stranger Station", by Damon Knight (F&SF, September)

"The Man Who Ate the World", by Frederik Pohl (Galaxy, November)

"Legwork", by Eric Frank Russell (Astounding, April)*

"So Bright the Vision", by Clifford D. Simak (Fantastic Universe, August)

"The Skills of Xanadu", by Theodore Sturgeon (Galaxy, July)

The nomination list I give has to be one of the greatest possible sets of five novelettes in a single year. How to choose even one? Especially between the three best, three of the truly best stories in SF history: "The Man Who Came Early", "The Dead Past", and "And Now the News ...". In 1956 "Exploration Team" won -- and it's a nice enough story, and something in me is glad Murray Leinster (Will Jenkins) won a Hugo -- but how in the world could the voters have picked it over "The Dead Past"? (I would guess "The Man Who Came Early" was considered a short story, and "And Now the News ..." was too late in the year. Of the others listed, at least "Stranger Station" and "The Minority Report" could easily have made my nomination list.

My winner? ... Gosh, any of those top three would be good. I'll go with "And Now the News ..." today -- might choose either "The Dead Past" or "The Man Who Came Early" tomorrow.

Short Story:

"The Last Question", by Isaac Asimov (Science Fiction Quarterly, November)

"A Work of Art" aka "Art-Work", by James Blish (Science Fiction Stories, July)

"Prima Belladonna", by J. G. Ballard (Science Fantasy, December)

"The Anything Box", by Zenna Henderson (F&SF, October)

"The Country of the Kind", by Damon Knight (F&SF. February)

"Honorable Opponent", by Clifford D. Simak (Galaxy, August)

Other possibilies:

"Junior", by Robert Abernathy (Galaxy, January)*

"Tomb Tapper", by James Blish (Astounding, July)

"Escapement", by J. G. Ballard (New Worlds, December)

"Silent Brother", by Algis Budrys (Astounding, February)

I think the clear winner here is "The Country of the Kind". "The Last Question" is a story lots of people love, but for me it's just a gimmick story. "The Anything Box" might be number 2 on my list.

In 1957, with just two categories, "The Man Who Came Early" might have been a short story, and it would get my vote -- and if I cop out and claim "And Now the News ..." isn't really SF, then I can give the Novelette (in those days, typically, "story over 10,000 words") award to "The Dead Past". How's that for waffling?

Ace Double Review: The Seed of Earth, by Robert Silverberg/Next Stop the Stars, by Robert Silverberg

Ace Double Reviews, 89: The Seed of Earth, by Robert Silverberg/Next Stop the Stars, by Robert Silverberg (#F-145, 1962, 40 cents)

a review by Rich Horton

I don't really plan to do an Ace Double review every week, but this is what I've finished. And there's a story, or a couple of stories, behind this book. A couple of weeks ago I was in Spokane, WA, for Sasquan, the 2015 World Science Fiction Convention. Naturally at the con there was a fine dealers' room, with a couple of booksellers who had Ace Doubles -- I always look at the Ace Doubles. But none seemed of particular interest. One of the days we had a bit of free time and decided to explore Spokane a bit, and we visited a couple of antique stores. One of them had a few Ace Doubles for sale -- most were pretty pricy ($20 for a Philip Dick book, which I guess is the way those things work), but they also had this Robert Silverberg double for a more reasonable price. As it happens, I had just met him for the first time in person at the con, and it seemed fated that I buy the book. (I would have anyway -- his books, even his early less mature works, are always at least professional and enjoyable -- one might compare him to John Brunner in that sense (though as I have said, I probably prefer early Brunner to early Silverberg, and later Silverberg to later Brunner).

Later on (at the pre-Hugo reception, in fact) I somewhat bumtiously approached Bob and asked him to sign the book(s), if that wasn't too gauche. It probably was rather gauche, but he kindly signed them anyway, and told me an interesting story about them. Ace, it seems, reported sales, and paid royalties, on each half of an Ace Double separately (makes sense, and usually they were by different authors). In this case, they issued statements saying that The Seed of Earth sold something like 80,000 copies, enough to earn out and make some royalties, but Next Stop the Stars sold only 40,000 (claimed Ace), not enough for royalties. Plausible enough, I suppose, as collections usually sell less than novels, except for the fact that the books are bound together! (Bob's agent was able to get Ace to buck up with the extra money for the second book -- to be sure, I suspect the sales numbers were wholly fictional anyway, and the book probably sold 150,000 or something!)

The novel half, The Seed of Earth, is a 1962 expansion of a 1957 story from Venture, "The Winds of Siros". After its expansion, it appeared (somewhat cut) as "The Seed of Earth" in Galaxy. The full version is about 50,000 words long.

The central conceit is that comfortable Earth has a hard time attracting people to colonize new planets, so a Colonization lottery has been set up, to which all healthy people between 19 and 40 are subject. The only way to get out of it is to have a very young child. If a husband or wife is selected, they must go, and their spouse can either choose to accompany them or abandon them. They are then sent in groups of 100 to a newly found planet -- apparently as the only colonists (seems a bit small of a group to me). The whole setup seems a bit implausible to me, well, actually a lot implausible, but it works as a framework for the story it tells. We follow a group of people involved with the latest selection: David Mulholland, the political appointee who runs the Colonization Bureau, as well as four of the latest selectees: Mike Dawes, a young college student; Cherry Thomas, an entertainer (by implication, a singer, stripper, or whore, as needs must); Ky Noonan, a big man who has tired of the boredom of Earth and who is a rare volunteer for colonization; and Carol Herrick, a painfully shy young woman (on the verge of becoming what was then called an "old maid").

The first few chapters detail the reactions of each of these characters to the selection, and to their short preparation time for the trip. Then they and the other 96 colonists make the journey, and upon arrival, quickly set up their colony and go through the wife-choosing process (no explanation of how gay people would react is offered). Mike has had his eye on Carol, and is fortunate to be able to choose her, while Ky perhaps predictably chooses the more flamboyant Cherry.

The conclusion involves a wholly unexpected development -- it seems that the very first intelligent species humans have ever encountered occupies this planet, and they kidnap the four main characters, who are penned up in a cave for a while, apparently for the aliens' entertainment. The stress reveals to each character something about their inner strengths and failings. This portion is a bit unexpected, and purposely attempts to avoid conventional resolutions to the characters' crises. It's not a particularly brilliant novel, but it has some original aspects, and it's readable enough.

The stories in Next Stop the Stars are all from quite early in Silverberg's career, and they are somewhat varied in tone. They seem to show a young writer trying new things, though for the most part they are fairly routine SF of the period. They are:

"Slaves of the Star Giants" (Science Fiction Adventures, February 1957, 15700 words)
"The Songs of Summer" (Science Fiction Stories, September 1956, 6300 words)
"Hopper" (Infinity, October 1956, 7300 words)
"Blaze of Glory" (Galaxy, August 1957, 5100 words)
"Warm Man" (F&SF, May 1957, 4500 words)

The first story concerns Lloyd Harkins, a man from about our time who is mysteriously thrust forward in time, to a much-altered Earth. He is capture by a huge, somewhat gentle, creature who takes him to a crude colony of humans. There are also, noticeably, likewise huge robots. And strange mutants with mind powers. Harkins soon is thrust into rivalry with the brutish leader of the colony, and the rest of the story is about his attempt at escape, and then his decision to take matters into his own hands. It's the pulpiest and weakest of the stories included here.

"The Songs of Summer" is also about a time traveler, in this case a slimy conman from 1956 who ends up in a pastoral future, and decides to upend the social structure of the gentle, somewhat telepathic humans he finds, taking one character's intended girlfriend as his own, introducing religion and economy, etc., until they find their own gentle way to stop him. Somewhat ambitious, not quite convincing.

"Hopper" also deals with time travel. Quellen is a functionary in a crowded future who has a secret: a hideaway in the jungle that he can teleport to whenever he wants. Then he is assigned to solve the problem of the "Hoppers", people being sent from this crowded future back in time, where it's less crowded and jobs are available. A mysterious man is behind all this, and Quellen tries to deal with him but is foiled by his own paranoia, his scheming subordinates, and his personal shortcomings. It's a cynical story, well enough constructed, but, again, not really convincing.

"Blaze of Glory" is a space story, about a somewhat brusque and violent spacer who hates aliens. He's assigned to a mission to a planet with gentle and innocent seeming aliens, and he's the only one who doesn't like them, and he acts very badly. But on the way home, he redeems himself with an act of heroism. The narrator, however, is left to wonder ... what really went on? And did the violent man know something about the aliens nobody else could see? This is OK if pretty minor work.

Finally, "Warm Man" is one of the best known of Silverberg's early stories, and deservedly so. It was the earliest story chosen for the 1976 Best of Robert Silverberg. It's in a sort of John Collier or Shirley Jackson mode, about a bachelor who takes a house in a typical suburb. He seems very friendly, and all the locals seem drawn to confide in him ... even embarrassments, such as their infidelities. This seems to make them better people, but they start to turn on him, before an incident with a troubled boy brings a shocking conclusion. I'd have liked it a bit better if the end was left a bit more mysterious -- there is an inconsistent couple of lines explicitly explaining what was going on, that didn't seem needed. Still, a fine piece.

Ace Double Reviews, 21: Master of Life and Death, by Robert Silverberg/The Secret Visitors, by James White

Ace Double Reviews, 21: Master of Life and Death, by Robert Silverberg/The Secret Visitors, by James White (#D-237, 1957, $0.35)

(Covers by ? and Ed Emshwiller)

This is an Ace Double pairing two writers who became quite prominent at a very early stage in their careers. Master of Life and Death, about 51,000 words long, was Robert Silverberg's third novel, following the weak juvenile Revolt on Alpha C (1955) (and one of the very first SF novels I ever read), and another 1957 Ace Double, The 13th Immortal. (There are also his two collaborations with Randall Garrett, The Shrouded Planet and The Dawning Light, published as by "Robert Randall", that appeared as a few short stories and a serial in Astounding in 1956 and 1957, but not until 1958/1959 as books.)  Silverberg had begun publishing short fiction with "Gorgon Planet", in the February 1954 issue of the Scottish magazine Nebula (after a fair amount of fanwriting, enough to earn him a Retro-Hugo a couple of years ago). He famously beat out Harlan Ellison for a special 1956 Hugo for Best New Author.

The Secret Visitors is about 49,000 words long. It is James White's first novel. White also did a great deal of fanwriting, and he continued this throughout his life. I've read the samples collected in the NESFA book The White Papers, and he was a simply wonderful fan writer. He was also a fine pro writer. His career began with "Assisted Passage", in the January 1953 New Worlds. He was of course most famous for his long series of stories and novels about an interstellar hospital, Sector General, and as such he was noted for his aliens and their curious medical problems.

I've enjoyed a great deal of the work of both writers. Unfortunately, they were not yet fully developed at the time of writing these two novels, and neither story is really very good. The Silverberg novel is explicitly called "complete & unabridged" on the cover, which makes me wonder if there was another longer edition of the White novel. I can't find any evidence of an earlier edition, however. I see a later Ace edition by itself, a UK Digit edition, and a UK New English Library edition, on Abebooks. Some of the Abebooks listings call it a "Doctor Lockhart Adventure", leading me to wonder if there were sequels. Does anyone know?

One more point about Silverberg. I previously have listed particularly prolific Ace Double authors, but I have forgotten Silverberg. I could advance the excuse that he wrote many of his Doubles under pseudonyms (Calvin Knox most often, but also Ivar Jorgenson and David Osborne), but that's not the real reason. The real reason I didn't list him is that I forgot to think of him as an Ace Double author. But he was -- in his early, "hack", career. He wrote, as far as I can tell, 13 Ace Double halves, in 12 different books.

Master of Life and Death is an exemplar, it seems to me, of several features of SF of the 50s and 60s. For one thing, it is a strikingly didactic novel -- in this case on the subject of overpopulation. For another thing, it features what I believe is really the standard political future of SF of that period. This future, perhaps surprisingly, was not capitalist in nature, it was not (at least not overtly) America-dominated. Instead, the "default" state of world governance as of X years in the future (X could be 50 or 200 or 300), in 1960 or so, as described by SF, consisted of the United Nations in control, with a basically socialist (though rarely very detailed) economy. All this seems to me, in rereading many older stories, to be accepted all but without thought. That was simply the way things were going to be. There was nothing pro-Soviet about this -- indeed, if there was a backstory (there isn't in the book at hand) it might detail how wicked the Soviets were, until they were subsumed peacefully under the world government.

But economy, to be sure, isn't what Master of Life and Death is about. Though it must be said that the implied economic underpinning to this novel is naive and simplistic -- much like the political underpinning, and the scientific underpinning. It is, indeed, not a very good novel, hardly thought out at all. Though also told with a certain efficiency -- not exactly energy or verve, but efficiency, professionalism -- that makes it a fast read, and a book that holds the attention for the brief time it takes to read, if no longer.

The book is told in third-person but from the POV of Ray Walton, as the book opens the Assistant Administrator of the six-week-old Department of Population Equalization, or Popeek. The job of Popeek, in the horribly overpopulated world of 2232, is to balance population stresses. Reality Check #1 -- what is Silverberg's estimate of the horrible, insupportable, population level which we will have finally reached 275 years in the book's future? 7 billion. What is the current world population [as of my writing this review, 15 or so years ago], only 46 years in the book's future, according to the US Census Bureau? 6.3 billion. This doesn't invalidate the book, but it does speak to a certain failure of imagination. (I'm a bit cruel to him -- this failure of imagination was essentially universal at this time in the '50s.)

What does Popeek do, then? It moves people from overpopulated areas to sparsely populated areas. (Indeed, one of the first things we see Walton do is sign an order to move several thousand people from Belgium to Patagonia. The book doesn't consider the logistics of this.) Also, it arranges for unsuitable people to be euthanized -- babies with defects such as a potential to become tubercular, and old people who have become a burden on society. A familiar idea, but not really handled very well here. Anyway, Walton is confronted by a great poet, a favorite of Walton himself, who begs for the life of his young son. Walton secretly adjusts the records to save the boy's life, but his action is detected by his malcontent brother, whom Walton has given a job at Popeek. Now Walton is under his brother's thumb. Then an assassin kills Walton's boss, and Walton suddenly is in charge of all of Popeek.

He finds himself struggling with his own guilt, with his brother's threats, with internal problems in the department, and with three secret projects authorized by the former director: an immortality serum, terraformation of Venus, and FTL travel to allow colonization of nearby planets. The first is of course a disaster in an already overpopulated world. The second is apparently close to success -- but nothing has been heard from the planet Venus in, oh, a few days. The third is also close to success -- indeed, a ship has already been sent exploring! (Here though is another example of not thinking things through -- Silverberg details a plan to send ships to a potential habitable planet each carrying 1000 people, until a billion people have been moved. OK, suppose somehow ships can be built and launched at the rate of 1 per day -- how long would it take to move 1,000,000,000 people? Over 2700 years! Similar problems, really, would affect the use of Venus or any other "local" planet as a bleeder valve for excess population.)

Walton finds himself driven, in a ridiculously short time (the action of the book takes some 9 days) to absurdly evil actions to maintain his power, quash opposition, and push through the actions he feels necessary. It is ambiguous at times whether he is really after power or sincerely trying to do good. I felt for a while that Silverberg was trying for a tragic look at a good man corrupted. I felt for another while that he was trying for a satiric over the top look at an exaggerated regime of population control. But neither really comes off. And the book stumbles to a disappointing close, with "aliens ex machina" to solve some of the problems (though to be fair with a slightly unexpected ending twist).

Not a good book. The action is implausible, the general setup implausible, the science is dodgy, and the ending rushed and unsatisfactory.

The Secret Visitors also has serious problems, though in sum I enjoyed the story a bit more. It opens with Doctor John Lockhart, a WWII veteran, on a curious British Intelligence mission to prevent an upcoming war. His job is to identify when a mysterious old man is about to die, and to get to him in time for a last minute interrogation. When he does so, the man gibbers in an unknown language, and the Intelligence types seem rather eager to conclude that he is an alien. Before long there seem to be several factions of aliens to deal with, including a beautiful girl, several of these dying old men, and a crew at a hotel in Northern Ireland (not coincidentally, I'm sure, White's home).

The Intelligence people soon make there way to this hotel, and they learn that an evil alien travel agency is fomenting war on Earth in order that the planet, the most beautiful by far in the Galaxy (apparently because it is the only planet with axial tilt!), be maintained conveniently unspoiled for alien tourism. (It should be noted that the aliens generally seem to be fully human -- basically Spanish.) The beautiful girl is trying to smuggle evidence of this perfidy to the Galactic Court in order that the agency can be stopped. For this she needs the help of some humans -- and she seems particularly interested in the help of Lockhart. But is she telling the truth?

This setup is so extravagantly silly as to almost make the book impossible to continue with. And it isn't helped when White can't seem to decide if his method of interstellar travel involves time dilation or not (there's a man from two centuries in the past as a result of one space trip, but on the other hand this impending war seems possible to stop in short order via a round trip to the capitol planet and back.) And there is the absurd bit that Earth's medical science is so advanced compared to the aliens that Lockhart is treated almost like a god. (But the aliens have an immortality treatment -- that, it turns out, for unconvincing reasons, is WHY their medical science stinks.) And there's the part about Earth music being so superior that the aliens are reduced to tears of joy and admiration by an amateur harp player.

Still, there are good parts, such as the alien Grosni, who live partly in hyperspace. Lockhart, in a segment recalling White's Sector General series, must treat a sick Grosni. The story spirals outward from the beginning premise, leading to an action-packed but again not very convincing conclusion, with it must be said a fairly clever final resolution to the final battle. It's by no means a good novel, and I don't think it could possibly sell today, but it is in many places pleasant and imaginative entertainment.

Hugo Nomination Recommendations, 1955

Hugo nomination recommendations, 1955 (1954 Stories)

Recently I did a piece on potential Hugo winners from 1957, having noticed that no stories from 1957 won Hugos: the 1958 Hugos went to stories from 1958 -- a result of the rules at that time extending eligibility up until a couple of months before Worldcon, and also that the 1957 Hugos didn't have any fiction awards. 1954 is in a similar state -- the short fiction awards from 1955 went to Walter M. Miller's "The Darfsteller" (Astounding, January 1955) and Eric Frank Russell's "Allamagoosa" (Astounding, May 1955). Mind you, the novel winner, "They'd Rather be Right", by Mark Clifton and Frank Riley, is from 1954 (Astounding, August through November), but it is also widely regarded as the worst Hugo-winning novel in history, so there's no harm looking at potential alternate winners in that category either!

I'll note for the record that the novelette "The Darfsteller" is an excellent story, and a very worthy Hugo winner (though I'd probably choose Damon Knight's "The Earth Quarter" (If, January 1955) instead) and the short story winner, "Allamagoosa", is good fun, though I'd have chosen one of several other candidates. ("Watershed", by James Blish, for example, or "One Ordinary Day, with Peanuts", by Shirley Jackson.) "Allamagoosa", by the way, is the first Hugo winner by a non-American (unless you count the German-born Willy Ley, who won for his science articles in 1953 -- but I'm pretty sure he'd become an American citizen by then.) I note as well that Richard A. Lupoff's excellent anthology What If?, Volume 1, selected "alternate Hugos" for the years 1952 through 1958, and his choice from 1954 was "The Golden Helix", by Theodore Sturgeon.

Incidentally, you might notice that all three fiction winners in the 1955 Hugos are from Astounding. In addition, the Best Editor award went to John W. Campbell, Jr., and the Best Artist went to Frank Kelly Freas, then as throughout his career a regular contributor to Astounding/Analog. Perhaps not surprising -- Astounding certainly retained a position as one of the leading SF magazines. But the story I've heard is that fans of Astounding were somewhat annoyed that Galaxy outdid Astounding in the first Hugos (1953), tying Astounding for Best Magazine, and having the Best Novel winner (The Demolished Man, by Alfred Bester) be a Galaxy serial, plus Excellence in Fact Articles going to Galaxy columnist Willy Ley. Thus, in 1955, they (in how organized a fashion I couldn't say) strongly supported Astounding contributors.

[Note -- I'm revising this to mention a couple more stories that I overlooked! Thanks to Joachim Boaz and Kris Vyas-Myall for the prods!]

Novels

Here's a possible nomination list (though in reality we can assume "They'd Rather Be Right" would have been on the list too.) I would list The Fellowship of the Ring at the top, and then A Mirror for Observers. And honestly, had either A Mirror for Observers or I Am Legend won (assuming The Fellowship of the Ring might not have got the requisite notice as a UK hardcover only), the reputation of the 1954 novel award would be much higher!

The Broken Sword, by Poul Anderson

The Syndic, by C. M. Kornbluth

I Am Legend, by Richard Matheson

A Mirror for Observers, by Edgar Pangborn

The Fellowship of the Ring, by J. R. R. Tolkien

Other possibilities:

Brain Wave, by Poul Anderson

One in Three Hundred, by J. T. McIntosh

Search the Sky, by Frederik Pohl and C. M. Kornbluth

Gladiator-at-Law, by Frederik Pohl and C. M. Kornbluth

Undersea Quest, by Frederik Pohl and Jack Williamson

There were also a couple possibilities from the  so-called "mainstream". Of these three novels, I don't personally consider Lord of the Flies SF (though I can see the argument), and I haven't read the other two.

Lord of the Flies, by William Golding

Messiah, by Gore Vidal

The Magicians, by J. B. Priestley

And of course there were some from the category then called "Juvenile" (now YA or Middle Grade):

The Star Beast, by Robert A. Heinlein

The Horse and His Boy, by C. S. Lewis

The Wonderful Flight to the Mushroom Planet, by Eleanor Cameron

Novellas

I only found six novellas particularly worth mentioning, so I list them all. Of these, my pretty clear-cut choice is "Rule Golden".

"Sucker Bait", by Isaac Asimov (Astounding, February and March)

"Sine of the Magus", by James Gunn (Beyond, May)

"Rule Golden", by Damon Knight (Science Fiction Adventures, May)

"Natural State", by Damon Knight (Galaxy, January)

"No More Stars", by "Charles Satterthwaite" (Frederik Pohl and Lester Del Rey) (Beyond, July)

"The Golden Helix", by Theodore Sturgeon (Thrilling Wonder, Summer)

Novelettes

Now this is interesting! I found 14 (at least) potential nominees among the novelettes. By sheer coincidence, my five favorites are the first five alphabetically. And the first two are clearly not just the best two stories of 1954, but two of the very greatest SF stories of all time. I don't think it's shocking, but it is disappointing, that none of these stories won an award. I'd also like to highlight once again Budrys' "The End of Summer", which is a wonderful and wonderfully strange story, marred just slightly by a slightly disappointing resolution. (Had he landed that, this story would rank with the two Bester stories.) 

Note that Judith Merril's "Dead Center" became the first SF story from a genre publication to be reprinted in the Best American Short Stories series. Indeed, under Martha Foley's editorship (1941-1977) only two SF stories from genre sources were selected, the other being Theodore Sturgeon's "The Man Who Lost the Sea" from 1959. 

"Fondly Fahrenheit", by Alfred Bester (F&SF, August)

"5,271,009", by Alfred Bester (F&SF, March)

"Beep", by James Blish (Galaxy, February)

"The End of Summer", by Algis Budrys (Astounding, November)

"The Golden Man", by Philip K. Dick (If, April)

Other possibilities:

"The Cold Equations", by Tom Godwin (Astounding, August)

"Miss Tarmity's Profession", by Roy Hutchins (Beyond, July)

"Gomez", by C. M. Kornbluth (The Explorers)

"Dead Center", by Judith Merril (F&SF, November)

"Lot's Daughter", by Ward Moore (F&SF, October)

"The Music Master of Babylon", by Edgar Pangborn (Galaxy, November)

"The Midas Plague", by Frederik Pohl (Galaxy, April)

"Dusty Zebra", by Clifford Simak (Galaxy, September)

"How-2", by Clifford Simak (Galaxy, November)

"Down Among the Dead Men", by "William Tenn" (Philip Klass) (Galaxy, June)

"Party of Two Parts", by "William Tenn" (Philip Klass) (Galaxy, August)

"Big Ancestor", by F. L. Wallace (Galaxy, November)

Short Stories

Oddly, I'd didn't find as many short stories that stuck out. For me, either Bradbury's "All Summer in a Day" or Seabright's "Short in the Chest" would have been strong winners.

"The Immortal Game", by Poul Anderson (F&SF, February)

"All Summer in a Day", by Ray Bradbury (F&SF, March)

"The Father-Thing", by Philip K. Dick (F&SF, December)

"Adjustment Team", by Philip K. Dick (Orbit, September-October)

"Daughter", by Philip Jose Farmer (Thrilling Wonder, Winter)

"The Nostalgia Gene", by Roy Hutchins (Galaxy, November)

"Short in the Chest", by "Idris Seabright" (Margaret St. Clair) (Fantastic Universe, July)

"BAXBR/DAXBR", by Evelyn E. Smith (Time to Come)

Belated Birthday Review: Stories of Gordon R. Dickson

 Gordon R. Dickson was born November 1st, 1923, so his 97th birthday was a few days ago. I realized I hadn't ever done one of these short fiction review assemblages for him before (I did review his Ace Double The Genetic General/Time to Teleport), and so I put together a collection of all the short fiction I'd happened to write about when discussing old SF magazines. Then I remembered that the cover story of the very first SF magazine I ever bought, the August 1974 Analog, was by Dickson, and I figured I should write about that too! But that required some excavation in my boxes of old Analogs, and thus this birthday review is a bit late!

Astounding, February 1952

"Steel Brother" may have been the first solo Gordon Dickson story to make a lasting impact. It's about a Solar System Frontier Guard, Thomas Jordan. The Frontier Guards man a somewhat implausible series of station at the edge of the Solar System, which each control a phalanx of robot ships that attack the aliens that periodically try to invade. Thomas Jordan has just taken his first command, and he's convinced he's a coward. He's also afraid of the implanted connection to the stored memories of all his predecessors (the "steel brother"): he's heard stories of people losing their identity and being overwhelmed by the memories. So when his first attack comes, he funks it, and almost lets the alien ships through, until he finally allows the "steel brother" to help -- and learns a lesson about, well, comradeship. There's a typically Dicksonian ambition, and a sort of ponderousness, to the story -- which nonetheless didn't really work for me, it seemed strained.

Universe, December 1953

The other novelette is also light comedy: "The Adventure of the Misplaced Hound" (9200 words), one of Poul Anderson and Gordon R. Dickson's Hoka stories. I've never been as big a fan of the Hoka stories as many readers, though I think to some extent I burden the entire series with my dislike of the one late novel, Star Prince Charlie, which I think was quite poor. This story is decent enough, though not really great. The Hokas, of course, are teddy bear like aliens who love to imitate fictional models -- in this story, obviously, they are imitating Sherlock Holmes. Much to the distress of a human IBI agent who is tracking down a nasty alien drug runner who has chosen to hide near the Hoka equivalent of the Baskerville mansion.

Galaxy, January 1954

The novelets are Gordon R. Dickson's "Lulungomeena" (6500 words), and Winston Marks's "Backlash" (8800 words). "Lulungomeena" is a story that is mostly OK but that relies on a contrived and annoying trick ending. It's about an old spacer, about to retire, and a young kid who is bored by the old man's tales of his home, Lulungomeena, and frustrated by the old man's claim to have once been a ready gambler, who gave up the habit. The kid wants to get a chance at the old man's savings, and also to shut him up. He finally baits the older man into a large bet ... and then the trick ending. One interesting detail is that the story is narrated by another older spaceman, who identifies himself as a Dorsai. The earliest story Miller/Contento list as part of the Childe Cycle is "Act of Creation" (Satellite, April 1957). This one seems at least linked (or perhaps part of a beta version of some sort).

Orbit, July-August 1954

"Fellow of the Bees", by Gordon R. Dickson (7700 words) -- very slight but modestly entertaining. A somewhat implausibly vicious Empire comes to a remote planet to press gang crewmembers for their space navy. Most implausibly of all, they plan to press gang EVERY adult between about 20 and 60! The day is saved by the good fortune that the politically appointed admiral of the fleet is a bee lover, and by some implausibly brilliant space navy tactics masterminded by an old lady using the planet's merchant fleet.

Venture, March 1957

“Friend’s Best Man” is a Gordon Dickson sociological set-up story … really a very Campbellian sort of thing. A rich man comes to an isolated frontier planet to meet an old friend, and learns that the friend has been murdered by a local nogoodnik. And that despite the dead man being universally popular, and the nogoodnik largely reviled, and the facts of the case not being in dispute, nothing is being done about it. The reason soon becomes obvious – the planet is labor-starved, and they can’t afford to lose the work done by the bad guy. The only solution is for the rich visitor to replace him – then justice can be done, and the bad guy punished. But will the rich guy have the balls to give up his easy life for the hard work of a frontier planet? Dickson is here straining to make a point, a point that frankly I don’t believe for a second. The strains of the setup show, and there is no examination of the ultimate stresses – and resulting loss of productivity – that such a system would cause. 

Astounding, December 1957

The other story that presents the humans are inherently superior idea, much more explicitly, is Dickson's "Danger -- Human!". (Silverberg's story, to give it its due, doesn't really suppose that humans are inherently superior, just that some sort of local historical accident has resulted in humanity being ahead of the nearby aliens in development.) In "Danger -- Human!" an alien group is monitoring Earth. It seems that humans are the descendents of a race that two or three times before has risen from obscurity to dominate the Galaxy, not to the benefit of the rest of the intelligent races. One of the monitoring guys decides to kidnap an human, a New Hampshire farmer, to study him and figure out if humans are still dangerous. Bad idea ... (as we could guess immediately). The main problem is that the human superiority is essentially asserted, not proven, unless we are to conclude from a final revelation (unless I misunderstood it) that the guy broke through an impenetrable field of some sort that humans have psi powers. (Which would really make the story stupid.)

Analog, August 1974

This is the first SF magazine I ever bought, from the newsstand at Alton Drugs in Naperville, IL, sometime in July of 1974. I'd been reading SF from the library with great dedication for a couple of years by then, and reading anthologies like The Science Fiction Hall of Fame and the Nebula Award Stories collections had shown me that there were magazines that published the stuff.

That day there were three magazines next to each other, the August issues of Analog, Galaxy, and F&SF. I bought the Analog first because it still had a certain reputation in my mind -- derived mostly from Campbell's 1940s "Golden Age". (I also liked the John Schoenherr cover.) I read through it quickly, and the next day I bought Galaxy, and the day after I bought F&SF.

The cover story is "Enter a Pilgrim", by Gordon R. Dickson. It tells of Shane Evert, a young man who works as a translator for the alien ruler of Earth -- Earth having been conquered three years before by the huge and technologically superior Aalaag. Shane dreams of some hero leading a resistance to the Aalaag, but on this day he witness the brutal execution of a man who had defended his wife from a careless young Aalaag. Later, a bit drunk, Shane is accosted by three human outlaws, but easily kills them all -- and in the mixture of shame and triumph he feels, something clicks, and the takes what (I can tell) will be the first steps of resistance to the Aalaag. Even at 14 I could see that this was not a complete story -- and indeed, three more stories followed (two in Analog, one in the anthology/magazine Far Frontiers), and they were fixed up into a novel, Way of the Pilgrim (1987). This took a surprisingly long time -- the other stories didn't appear until 1980 and 1985, and I never actually have read the novel, though I'm fairly sure I know the basic plot!

(That August 1974 Galaxy also features a story that is basically an appendage to a novel -- Ursula K. Le Guin's "The Day Before the Revolution", which to be fair isn't part of The Dispossessed, and works fine by itself. And I should note that Lester Del Rey picked the Dickson story for his Best of the Year volume.)

Cosmos, July 1977

"Monad Gestalt", Dickson's novella, is actually part of his novel Time Storm. It reads very much like a novel excerpt -- it's not very successful standing alone. The central idea of Time Storm is neat enough -- Earth (and, it turns out, the whole universe) is divided by "windwalls" into different times -- if you pass through a wall (which may be stationary or moving) you will end up in the same geographical location but at another time. Our hero (the first person narrator) is leading a group of people, including a few violent toughs, a scientifically-oriented man, a teenaged girl, a woman named Marie with a four year old daughter, and a tame leopard. The narrator has claimed Marie as "his woman" but doesn't love her. The teenager is attracting the attention of the leader of the toughs, a man named Tek. The group is trying to find a spot in the future that might hold a clue to the origin of the time storm. Indeed, they do eventually find a deserted future city -- deserted but for one inhabitant, an "avatar" of an alien intelligence. Guided by the alien plus a lot of totally ridiculous mumbo-jumbo, our hero finds another location with a sort of computer/gestalt connection, which will allow him to link with the other minds in his group and become a sort of supermind, able to deflect the time storm at least locally.

Faugh! Dickson sets up an intriguing premise in the time storm and resolves it with authorial fiat. (And stupid coincidence -- the narrator needs exactly eight people in his "gestalt" to gain full power. But there are only seven adults in his group. Not to worry -- the four year old can be combined with a genetically engineered ape that just happens to be nearby to provide slot number 8!) Add a very creepy romance that doesn't even have any emotional force -- the narrator all of a sudden just realizes that he wants the teenaged (young teenaged -- not much older than 14) girl for his own. To be fair, some of the problems I had with this story may well be the result of abridgement to novella length -- the full novel might allow more convincing development of some of these things.

Old Bestsellers: The Leopard, by Giuseppe di Lampedusa

Old Bestsellers: The Leopard, by Giuseppe di Lampedusa

a review by Rich Horton

Back to the archives for a review of a book I did a couple of decades ago -- certainly an "Old Bestseller", in its English translation The Leopard was the third bestselling novel in the US in 1960 (the same year To Kill a Mockingbird was 11th). It's by no means a forgotten book, I should add.

Giuseppe di Lampedusa (1896-1957), a descendant of an old Italian aristocratic family, and himself a Prince, and apparently something of a lifelong playboy and dilettante (though perhaps that reputation is questionable), worked on this book, his only novel, for many years prior to his death. He finally finished it in the late '50s, only to see it rejected. (Some have suggested it was rejected for political reasons, and early Marxist reviewers also disparaged the book on political grounds. Later critics have tended to read the book instead.) He died in 1957, and a publisher reconsidered. It was published in 1958, and became a great International success. A well-received movie with Burt Lancaster in the title role was made in 1963.

When I first read I approached it with high expectations, and I was thoroughly satisfied. The novel, apparently based on the life of di Lampedusa's great-grandfather, is the story of a proud, sensual, Sicilian aristocrat at the time of Italy's Risorgimento (1860 or thereabouts), and his reaction to the changes he sees in his society: mainly the inevitable, indeed necessary, but still in some ways regrettable displacement of the aristocracy from their traditional position. The title character is a wonderful creation, and the lesser characters about him (his wife and children, his favorite nephew, the Jesuit priest Father Pirrone, and so on), are also very elegantly depicted. The Sicilian countryside, and telling details of social life at that time period, are also fascinating elements of the book. And finally, the prose is wonderful, and this translation seems very good, save for just a couple mild moments of clunkiness.

(The following paragraphs will summarize some of the action of the novel: I will try to avoid spoilers (and after all this is hardly a plot-driven novel), but the very spoiler-conscious may wish to stop here.)

The Leopard, then, is the story of Don Fabrizio, Prince of Salina, at the time of the main action a man in his forties, with several children. He is a sort of benevolent tyrant in his household, a man of a very old family, accustomed to knowing his place and to having those about him know their places. The Prince is also a man of great sensual appetites, careless with his money (though not wasteful or dissolute), politically knowledgeable but completely apolitical in action, and also an amateur astronomer of some note.

When the story opens, the Risorgimento is ongoing, but it is clear that it will be ultimately successful, and that the Kingdom of the Two Sicilies will be absorbed into the newly unified, somewhat more democratic, Italy. Don Fabrizio, out of loyalty, is nominally supportive of the old regime, but he realistically stays out of the conflict. His favorite nephew, Tancredi, the penniless but charismatic son of his sister, is an ardent supporter of Garibaldi (leader of the revolution).

Several long chapters, separated by months, follow the progress of the Risorgimento at a distance, and more closely follow events which impinge directly on Don Fabrizio's life, yet which reflect the coming societal changes. These include the plebiscite to confirm popular support for the unification of Italy, his nephew Tancredi's love affair and eventual marriage to the daughter of a wealthy but decidedly lower class neighbor, his daughter's reaction to the attentions of a friend of Tancredi's, and Father Pirrone's visit to his home village. Finally, the action jumps forward some decades to the Prince's death, in a very moving and beautiful chapter, then still further forward to the household of his unmarried daughters in their old age.

The events of the story tellingly illustrate both the changing face of society and also the nature of Sicilian society in general. At another level, the Prince's aging and death, and his knowledge of his own mortality, echo the senescence of his class. Loving descriptions of the Prince's homes, of his meals, of balls, of hunting, of peasant life, of politics both at the Prince's level and at the level of the peasants, of the attitude of churchmen towards their flock (especially Father Pirrone's toleration but not approval of his friend's sensual escapades) are laced throughout the novel. Moreover, the Prince himself is a truly compelling, charismatic character, full of faults but an admirable man nonetheless. Also, the narrator's voice is often with us, ironically, often even cynically, commenting on the expectations of the characters and both their failings and the failings of "real life" to meet their expectations, but, though sad, the voice is never bitter.

I am not particularly good at selecting quotes from novels to illustrate their virtues, but I will try to show some of what I found wonderful in this book with this longish, beautiful passage, concerning the courtship of Tancredi (the Prince's nephew) and Angelica: "Those were the best days in the life of Tancredi and Angelica, lives later to be so variegated, so erring, against the inevitable background of sorrows. But that they did not know then; and they were pursuing a future which they deemed more concrete than it turned out to be, made of nothing but smoke and wind. When they were old and uselessly wise their thoughts would go back to those days with insistent regret, they had been days when desire was always present because it was always overcome, when many beds had been offered and refused, when the sensual urge, because restrained, had for one second been sublimated in renunciation, that is into real love. Those days were the preparation for a marriage which , even erotically, was no success; a preparation which, however, was in a way sufficient to itself, exquisite and brief, like those melodies which outlive the forgotten works they belong to and hint in their delicate and veiled gaiety at themes which later in the finished work were to be developed without skill, and fail." I hope this gives a sense of the leisured, luxurious prose, the elegant metaphors, and also the cynical authorial voice which are such great pleasures in this book.

Another Ace Double: Empire of the Atom, by A. E. Van Vogt/Space Station #1, by Frank Belknap Long

Ace Double Reviews, 96: Empire of the Atom, by A. E. Van Vogt/Space Station #1, by Frank Belknap Long (#D-242, 1957, 35 cents)

a review by Rich Horton

Both authors of this Ace Double are fairly significant -- Van Vogt of course is a legend, and an SFWA Grand Master. Long is less prominent, but he did win a World Fantasy Award for Lifetime Achievement, and he has -- or had -- a significant reputation as a Horror writer, and a disciple of H. P. Lovecraft. Both were also very long-lived.

A. E. Van Vogt was born in 1912 in Canada, and died in 2000. He worked for the Canadian Ministry of Defence, doing some writing on the side, beginning with true confessions stories, and turning to SF in 1938, inspired by John Campbell's classic "Who Goes There?". His first sale, to Campbell at Astounding, was "Black Destroyer", still considered a classic. He made a huge splash in 1940 with the Astounding serial Slan, and another splash with "The Weapon Shop" (1942), which was fixed up into a novel, The Weapon Shops of Isher. (The term "fix-up" was, I believe, a Van Vogt coinage.) His most famous novel is probably still The World of Null-A (serialized in Astounding in 1945). He became a full-time writer in the early '40s, and moved to California in 1944. He was an early adopter of L. Ron Hubbard's Dianetics (later Scientology), though he apparently left the movement around 1961.

There is no denying Van Vogt's immense importance and influence in the field of SF, and I certainly don't dispute that he deserved the Grand Master award. But I confess I've never much liked his work. By and large I agree with the points Damon Knight made in his famous essay on The World of Null-A. I've generally found Van Vogt's work illogical, not very well-written, downright slapdash on occasion. But a lot of people I truly respect really love his work, so I admit without reservation that I am missing something important. Sometimes that's the way it is.

So I approached Empire of the Atom with some caution. It is another "fix-up", though a fairly coherent one, comprising five novelettes first published in Astounding in 1946 and 1947. It was published in hardcover by Shasta in 1957, followed the same year by this abridged Ace Double edition. (It's still fairly long for an Ace Double at some 56,000 words.)

I have to say I was pleasantly surprised by the book: I quite enjoyed it. One reason is that the plot is more controlled, more logical, than in other Van Vogt books, only veering off in a Van Vogtian direction right at the end. There's a reason for that -- I realized immediately that his had to be a retelling of some portion of Imperial Roman history, but my knowledge of that history was not sufficient for me to recognize the exact correspondences. But Wikipedia helped immediately -- the story is based on the life of the Emperor Claudius, most specifically as portrayed by Robert Graves in I, Claudius. This anchoring in actual historical events, I feel, kept Van Vogt on course, as it were.

It is set some 10,000 years in the future, after humans have colonized the planets of the Solar System, and then been reduced to barbarism on each of these worlds. A city-state, Linn, arose, and in the recent past it conquered the world and began to try to annex the barbarians on Venus, Mars, and even outer satellites such as Europa. The ruler, or Lord Leader, is a vigorous man but getting older. A new child is born to his scheming second wife, Lydia. (These are, of course, analogues to Augustus and Livia.) The new baby, named Clane, turns out to be a mutant -- Lydia was accidentally exposed to radiation -- this society uses radioactive metals (and worships the "Atom Gods") but has no idea how they work. As a mutant Clane should be killed. However, a leading Temple Scientist wants to raise him and show that mutants, if treated properly, have the same potential as anyone. So Clane is raised, somewhat isolated, and becomes an unusual but very intelligent young man.

The succeeding episodes show Clane learning how to function amidst his scheming relatives, the worst of whom is Lydia, whose prime desire is to place her son by a previous marriage, Lord Tews, on the throne. Clane has no wish to rule, but he does wish Linn to do well, and he does have relative favorites among his relatives, and so he helps one of his Uncles to win a great triumph on Mars, only to have the maneuvering of Livia and Lord Tews mess things up. The dueling continues, as a rebellion on Venus is also crushed, as Clane makes some significant discoveries, and as Tews finally achieves his goals, only to be threatened by an unexpected barbarian incursion from Europa -- a crisis that at last forces Clane to the forefront. Here at the denouement the book finally takes its Van Vogtian turn, but I actually found that aspect kind of cool. There is a sequel, The Wizard of Linn, serialized in Astounding in 1950.

Frank Belknap Long (1901-1994) began publishing in 1920 and his 1921 story "The Eye Above the Mantel" attracted Lovecraft's attention. He published quite a lot of horror-tinged fiction in the next couple of decades, contributing to Weird Tales from its first year (1923). His most famous story might be "The Hounds of Tindalos". He also wrote a fair amount of SF, and he wrote in several other genres (including comics, some Ellery Queen stories, a Man From Uncle story, and Gothics).

I first encountered Long with the Doubleday collection The Early Long, from the mid-'70s, part of a number of books that followed Isaac Asimov's The Early Asimov, in featuring early stories by well-known SF writers along with extensive material about the early careers of these writers. Even then I thought Long a curious choice for such an anthology, and I admit I've felt that way more and more as time goes by -- I've been very unimpressed by everything I've read from him. But I must admit that his reputation in the Horror field is actually pretty good -- I'm not really a Horror reader, so I must defer to those who really love that genre, and especially those who love Lovecraft. The most interesting SF story I've read by Long is "Lake of Fire" (Planet Stories, May 1951), not because it's all that good, but because it is a very direct prefiguring of Roger Zelazny's "A Rose for Ecclesiastes".

Space Station #1 is some 55,000 words long. This appears to be its first publication (and it may be Long's first novel-length fiction). It opens with a certain Lieutenant David Corriston in a desperate fight for his life in the bowels of the title Space Station. It turns out that this fight is the result of a murder he had witnessed just a few minutes earlier, and perhaps more to the point, of his conversation with Helen Ramsey, the daughter of Stephen Ramsey, who controls the uranium mining on Mars, apparently by oppressing the colonists. There follows a somewhat wild sequence of events, as Corriston meets Helen, the two fall instantly and implausibly in love, Helen's bodyguard is killed, she disappears, Corriston barely survives his fight, a uranium freighter coming to the station suddenly loses control and veers to the surface of Earth in a terrible disaster, Corriston is imprisoned by the station's Captain, he discovers that a number of people, including Helen and the Captain, are wearing very sophisticated masks ...

For several chapters I found this quite entertaining, but somewhere along the way it went wildly off the rails. It devolves into a silly and implausible (but of course!) battle for the soul of Mars, as Corriston must convince the Martians that neither the oppressor Stephen Ramsey nor the thug they have hired to oppose him are worth respecting ... only, it turns out, Ramsey sort of his (if mainly for having a wonderful daughter) ... And Corriston proves his worth by trekking across Mars and beating up a guy and etc. etc.

It really reads like Long started writing and every so often lost his way and just hared off in a new direction until he had written a novel's worth of words and then resolved things. The hero gets the girl, the villain(s) are vanquished, and, oh, by the way, at the last second he introduces Martian lampreys just because he needed to extend things a few thousand words more. Oh well.

A Fifties Mystery Novel: The April Robin Murders, by Craig Rice and Ed McBain

The April Robin Murders, by Craig Rice and Ed McBain

a review by Rich Horton

A little break from old bestsellers this week. Instead I'm writing about a detective novel from the '50s.

Craig Rice was born Georgiana Ann Randolph Craig in 1908. Her parents did not want an infant messing with their world traveling, and basically abandoned the child to a string of relatives. Eventually she settled with an aunt and uncle, the Rices. Hence her penname, derived from her surname and her adoptive parents' surname. She was married four times and had three children, had numerous affairs, became an alcoholic, and died fairly young in 1957.

Ed McBain, best known by far for his 87th Precinct novels, was born Salvatore Lombino in 1926 and legally changed his name to Evan Hunter in 1952. (He always said Hunter was the most innocuous "white-bread" name he could come up with, but the name also echoes a couple of schools he attended.) Ed McBain was his usual pseudonym, but he also often published as Hunter, and early in his career published as S. A. Lombino. Though best known for his mysteries, he published a number of SF stories, mostly as Lombino or Hunter but also under a few more pseudonyms. (I have read a couple of the Lombino stories, his earliest, and wasn't impressed, but he got better.) He died in 2005.

Craig Rice's most successful series featured a detective named John Joseph Malone. But The April Robin Murders is from her second series, which featured Bingo Riggs and Handsome Kusak, a pair of small-time photographers who keep getting into trouble and needing to solve mysteries to get out of it. The April Robin Murders was left unfinished at Rice's death in 1957, and McBain finished it and it was published in 1958. The back cover copy of my edition (a book club edition, which I found in an antique store in Union, MO) says that the book was 3/4 finished, but, according to Wikipedia, McBain, that is, Hunter, claimed it was only half-finished and he had to solve the mystery before finishing it. Based on style and pace, I would have guessed Rice wrote rather more than half the book, though I certainly believe McBain came up with the solution.

Bingo is the main POV character. He and Handsome have come to Hollywood to make their fortunes. (They started in New York.) They call their company The International Foto, Motion Picture, and Television Corporation of America, but basically they are street photographers -- taking pictures of tourists and offering to develop the prints for a price.

In Hollywood they go looking for office space and a home; and they seem to succeed easily ... though to the reader it's obvious that they are being taken in by a con man when they "buy" their house. The house, they are told, was once the home of the legendary movie star April Robin. But now it is abandoned except for a rather sinister caretaker. The previous owner, Julien Lattimer, died in mysterious circumstances. But, they learn soon enough, a body was never found, and moreover there are two wives, his fourth and fifth, disputing the matter. The fourth thinks Lattimer is dead (we assume murdered by the fifth wife), and so she should get the inheritance, while the fifth claims Lattimer is alive and so she still gets the property.

In good time there are a couple of further murders, and Bingo and Handsome are in a bit of a pinch, between the importunings of a couple of different conmen, the interests of agents and producers and neighbors, and the suspicions of two policeman, a classic good cop/bad cop pair. The solution is a bit intricate, maybe a bit of a stretch, but not a bad one -- involving (as it should) the mystery of April Robin's brief career along with the stories of Julien Lattimer, his wives, and a couple of other people Bingo and Handsome bump into.

For the first two thirds or so of the book things meander along. The main interest is in the characters of Bingo and Handsome -- neither terribly intelligent, both quite likable, Handsome with maybe better instincts but Bingo a bit more agressive and hopeful. Really all this is very fun -- funny in a rather understated way, a bit sad in that you really like Bingo and Handsome but you can see that they're not at all in control of their lives. Then towards the end there is a distinct acceleration, and a slight change in style, and the characters, though not inconsistent with themselves, seem to change focus a bit. I assume that's McBain taking over, but you could argue that it's more a case of the writer, whoever it was by then, realizing that it's about time to get things moving and finish the story.

Anyway, the novel was enjoyable enough that I'll probably be reading another of Rice's novels sometime in the future, assuming I run across a copy, but not enjoyable enough that I'll eagerly search such books out.

An old Ace Double: Who Speaks of Conquest? by Lan Wright/The Earth in Peril, edited by Donald Wollheim

Ace Double Reviews, 64: Who Speaks of Conquest?, by Lan Wright/The Earth in Peril, edited by Donald A. Wollheim (#D-205, 1957, $0.35)

a review by Rich Horton

This is anthology week at Patti Abbott's Friday's Forgotten Books, and I had planned to cover an anthology of stories on the subject of marriage from Harper's Magazine in 1905 or so, Their Husband's Wives. But my computer has died, hopefully temporarily, and with it the review I had written. Instead, I turn to a review I wrote quite a while ago, with a Don Wollheim anthology backing a novel by Lan Wright, from 1957.

(Cover by Meltzoff)

Lan Wright was a UK writer, full name Lionel Percy Wright (1923-2010), who was a regular contributor to the UK SF magazines, mostly E. J. Carnell's (New Worlds, Science Fantasy, Science Fiction Adventures), from 1952 through 1963. As far as I know he never even once appeared in a US magazine. Indeed, he only once appeared in an anthology, a British book edited by Carnell. He did have five novels published in the US, four of them Ace Doubles, the last of these in 1968. I had read a story or two in the magazines, and found them mediocre but with interesting aspects, so I tried this novel. He seems to have published nothing (in SF, at any rate) after the age of 45.

(Cover by Ed Emshwiller)

Who Speaks of Conquest? was first published in four parts in New Worlds, April through July, 1956. This book version is about 50,000 words, which is kind of short for a four part serial, so it's possible (I don't know) that the book version is cut.

It's rather a silly novel, setting up a really dumb situation and working that out for most of the book, then trying to rescue some of the stupidity with a little twist right towards the end. By that time, I wasn't buying it! It's one of those ideas that probably would have been OK at about 10,000 words, but that simply doesn't bear the weight of a novel.

The first Terran starship lands at Sirius (why they didn't go to Alpha Centauri first is never explained -- it turns out to be inhabited, so it can't be for lack of planets). There they find a welcoming committee, from an intelligent race that has colonized these planets. They learn that the entire Galaxy is under the rule of the Rihnans, apparently a mostly benign rule, but an unquestioned one. Humans are expected to meekly accept their position. Of course, they don't, and soon an invasion fleet is dispatched from Alpha Centauri. But to the invaders' surprise, the plucky humans decide to fight back, and moreover they have been able to develop some surprisingly good tech, and the humans win.

The Rihnans don't take that lying down, and begin plans for a much bigger fleet to suppress Terra. But the humans have their own ideas, and they decide to take the fight to the rest of the Galaxy before the fight comes to Earth. It turns out that humans are much more ingenious than anyone else (what a surprise!), and so despite lack of numbers it looks like they might win. But the Rihnans do have a special trick up their sleeves.

Luckily the human Captain leading the war effort is able to figure out the Rihnan secret. (Part of which turns out to be telepathy.) He magically becomes telepathic himself, but he is still taken prisoner. And a rescue mission is mounted to the planet he's been taken to, but ... well, why tell the story. The improbable human successes continue, of course, and by the end the Rihnans are swept off their perch. But there is something strange going on ... and as I said some of this implausible human success turns out to have a slightly acceptable explanation. Except it shouldn't have taken 45,000 words of boring easy human successes to get to the twist. And it's not that good of a twist anyway.

The other side of this book is an anthology edited by Don Wollheim, The Earth in Peril. As the title makes clear, it's a selection of stories (6 in all) featuring the Earth in danger of destruction, from alien invasion or natural forces or just by accident. I suppose in a way Who Speaks of Conquest? also fits this theme -- perhaps Wollheim chose his anthology theme to pair with the novel.

Here are the stories:

"Things Pass By", by Murray Leinster (19,500 words) (Thrilling Wonder Stories, Summer 1945)
An overlong story with some annoyingly implausible super science. But the basic situation is kind of cool: a huge fleet of near light speed alien ships is passing through the Solar System, who knows why? The gravitational perturbation of these ships threatens to destroy life on Earth. Fortunately our hero, a scientific maverick, with the help of a beautiful woman, and against the foolish obstructionism of an evull corporation, saves the day.

"Letter from the Stars", by A. E. Van Vogt (2600 words) (Arkham Sampler, Winter 1949)
Also called "Dear Pen Pal". An alien criminal manages to contact a human by letter, supposedly just for correspondence but actually with nefarious aims.

"The Silly Season", by C. M. Kornbluth (5500 words) (F&SF, Fall 1950)
Kornbluth at his most sardonic. A newspaperman investigates mysterious UFO-type manifestations. They seem real, but nothing comes of them. Over a few separate outbreaks, people become convinced they are all fake. Then the aliens REALLY come ...

"The Plant Revolt", by Edmond Hamilton (8700 words) (Weird Tales, April 1930)
One of the least plausible stories I've read. Plants suddenly and rapidly mutate and revolt against humanity, turning into mobile and predatory beings. To do so they need certain rare elements emitted from a single man-made volcano. Which is the key to solving the problem, rather absurdly. Told in a horribly turgid faux-19th century style.

"Mary Anonymous", by Bryce Walton (7400 words) (Planet Stories, Summer 1954)
I read this a few years ago in that issue of Planet and didn't remember it. But actually it's not too bad, which means it's probably Walton's best story. (Walton being one of my least favorite writers of that period.) Mars and Earth have been at war for decades, and Earth has just figured out the weapon to exterminate the Martians. But as they launch it, Mary suddenly rebels, and, as it turns out conditioned by the Martians, destroys the Earth spaceship. It's a surprisingly cynical story -- both Earth and Mars come off as irredeemably evil. Mary is sympathetic but does bad things too. The story ends with a twist revelation about Mary that seemed obvious to me (but then I had read the story before!)

"The Star", by H. G. Wells (4200 words) (The Graphic, Christmas 1897)
Famous story telling in journalistic fashion of a rogue star wandering into the Solar System and nearly destroying Earth. Aspects (such as the speed of the star) don't hold together well, but the cold inevitability of the telling is very effective.

So, a mixed anthology -- two good stories (Wells and Kornbluth), two OK ones (Walton and Van Vogt), and two bad ones (Leinster and Hamilton).

A Little Known Ace Double: The 13th Immortal, by Robert Silverberg/This Fortress World, by James E. Gunn

Ace Double Reviews, 74: The 13th Immortal, by Robert Silverberg/This Fortress World, by James E. Gunn (#D-223, 1957, $0.35)

A review by Rich Horton

James Gunn was born July 12, 1923, so he turns 95 today, and he is still an active writer, with a new novel out this year. In honor of his birthday, I'm resurrecting a review I did several years ago of his only Ace Double. Alas, it was his first novel, and I'm afraid I'm not very kind to it.

(Covers by Ed Valigursky and Ed Emshwiller)

This Ace Double pairs the first adult solo novel from each of these well-known writers. (Silverberg had an earlier juvenile, Revolt on Alpha C (which as it happens was probably the first SF novel I ever read), while Gunn published a collaboration with Jack Williamson (Star Bridge) in the same year as the first publication of This Fortress World.) The 13th Immortal is about 45,000 words long, while This Fortress World is much longer at 67,000 words or so (and even as such is abridged). (I find it funny that Gunn appears in this Ace Double with Silverberg's 13th Immortal, and that he later published a novel, fixing up some of his better early stories, called The Immortals.)

Both writers are SFWA Grand Masters. I've written about Silverberg in these Ace Double reviews many times before, so I won't repeat myself here. Gunn is particularly well known as one of the first people to treat SF in an academic milieu -- indeed, he published extracts from his MA thesis in Dynamic Science Fiction. He has been a Professor (now Emeritus) of English at Kansas University for decades, and he is the Founding Director of KU's Center for the Study of Science Fiction. (He has taught at KU for 60 years now!) He's also, of course, been a significant writer of SF for even longer, getting particular notice for The Listeners, about SETI, basically, which was a Nebula nominee. He won a Hugo for Best Novelette for "The Giftie" in 1999, and other Hugos for non-fiction in 1976 and 1979.

The 13th Immortal is set several hundred years after a century of war has caused the remainder of the world to retreat to technological stasis. Twelve immortal men have parceled the world into twelve domains, and they in their various ways have enforced an agrarian lifestyle on everyone. The thirteenth domain is Antarctica, newly green and secure behind an impenetrable field.

Dale Kesley is a farmer in Iowa. But he has surprisingly little memory of his past life. One day a man turns up, looking for someone -- for Dale. This man is from Antarctica, he claims. And so too, says the man, is Dale. And it's time for him to go home. After some internal agonizing, Dale decides to follow this man -- mostly because of a nagging feeling that he doesn't really fit in Iowa.

But their travels do not go smoothly, In South America the two are separated, and Dale is captured by the agents of the Immortal in charge there. Rather implausibly, this man takes a shine to Dale and instead of having him executed after an escape attempt he recruits him -- as an assassin! Dale's new job is to go back to North America and kill the Immortal up there!

It is clear that relationships among the Immortals are fraying. And during Dale's travels he learns even more about his world, as he ends up encountering a town full of despised mutants, and a town run completely by automation. Inevitably his peregrinations lead him to Antarctica, and a confrontation with the mysterious 13th Immortal -- as well as a realization of his own history and destiny.

This is really pretty minor stuff. Silverberg of that era was a competent craftsman, and often willing to at least make a stab at handling interesting issues -- but still often a producer of yard goods. This book is yard goods, and indeed a bit below the average Silverberg 1950s standard, perhaps not a surprise coming so early in his career.

This Fortress World was first published by Gnome Press in 1955. This 1957 Ace Double is abridged. It is a novel that seems very derivative of Isaac Asimov's Foundation series. (One of Gunn's Hugo-winning books was called Isaac Asimov: Foundations of Science Fiction.) But nowhere near as good.

(Cover by Murray Tinkelman)

It opens with a young acolyte, William Dane, at a religious order witnessing a beautiful woman leaving something in the collection bowl, then going outside only to have her feet cut off by some blacksuited thugs. Finding her beauty sufficient to challenge his faith, he hides the pebble she left. Soon the thugs are invading his cathedral -- he kills a few of them, and decides to leave.

He's picked up by an intellectual who teaches him, almost instantly it seems, to be a master fighter. But when this man urges him to give him the mysterious pebble, he kills him. After another escape, he is rescued by a whore with a heart of gold (TM). But that doesn't last -- he decides to escape to another world, but instead he ends up in the hands of the blacksuits, by whom he is tortured. But the WWAHOG(TM) rescues him again, rather surprisingly -- only to be kidnapped herself. So William realizes he has to confront the head of the blacksuits -- and eventually the real power. But he learns that there is another power he knew nothing about ...

I hardly believed a word of it, I have to say, and I was bored through most of it. The Galactic society Gunn sketches is unconvincing, despite his heavy-handed attempts to give it a philosophical grounding. And the characters do not convince, either. (For example, William is unable to reconcile himself to the fact that Whore With a Heart of Gold (TM), with whom he falls in love, was, well, a whore (for very good reasons, it turns out).) Pretty weak stuff. I must add, however, that I was reading an abridged version, and it's possible that the full novel does a better job, particularly in establishing character.

Ace Double Reviews, 61: The Sky is Falling, by Lester del Rey/Badge of Infamy, by Lester del Rey

Ace Double Reviews, 61: The Sky is Falling, by Lester del Rey/Badge of Infamy, by Lester del Rey (#76960, 1973, $0.95)

by Rich Horton

Leonard Knapp was born on June 2, 1915, though by the time he began publishing science fiction stories in 1938 he was using the name Lester del Rey, and continued to do so until his death in 1993. He told people various versions of his "true" name, typically a variation on "Ramon Felipe Alvarez-del Rey", and only after his estate was settled was it definitively settled that his birth name was Knapp. Throughout his career he used other pseudonyms as well, most notably Erik Van Lihn and Philip St. John. He made an early mark as a writer with stories like "Helen O'Loy" and "Nerves", each of which appeared in one of the Science Fiction Hall of Fame anthologies, but in later years he was often blocked. However, he had a major impact as an editor, at magazines like Space Science Fiction, and more notably at Ballantine Books, which SF/Fantasy imprint was renamed "Del Rey Books" after he and his wife Judy-Lynn. Lester Del Rey's most famous discovery was Terry Brooks -- he acquired and edited The Sword of Shannara and it became a smash bestseller. On the occasion of what would have been his 104th birthday, here's a look at his only Ace Double.

As I've noted before, many of the SFWA Grand Masters published in Ace Doubles. One of my goals is to review Ace Doubles by each of the Grand Masters who did have an Ace Double. Lester Del Rey is one of the interesting cases. His only Ace Double was one of the last. This book appeared in 1973, as the series was limping to a conclusion. Interestingly, this same pairing appeared earlier as a double book from a different publisher, one of the more unusual "double" series ever. This was the Galaxy Magabooks, put out by Galaxy magazine between 1963 and 1965. These "books" were in the format of issues of Galaxy, and they paired two short novels by the same author back to back (not dos-a-dos). The Sky Is Falling/Badge of Infamy was the first such book. The other two were Theodore Sturgeon's "... And My Fear is Great ..." paired with "Baby is Three" (two very short novels indeed, really indisputably novellas), and Jack Williamson's After World's End paired with The Legion of Time. (You can't fault the choice of authors -- two Grand Masters and the third author, Sturgeon, clearly the best of the three, not a Grand Master due only to a relatively early death.)

(Cover by Virgil Finlay(?))

Both of Del Rey's stories had appeared earlier in magazines. "Badge of Infamy" was in the June 1957 Satellite. The version in the 1973 Ace Double, presumably the same as the 1963 Galaxy Magabook, is about 33,000 words. The Ace Double includes a note to the effect that the 1957 publication was "shorter and earlier". Earlier is undeniably the case, but the story took up 88 pages in that issue of Satellite -- I haven't seen that issue, but for 88 pages to translate to about 33,000 words would be about right (counting illustrations). The Sky is Falling, on the other hand, is definitely revised from its earlier appearance. This was under the title "No More Stars" in Beyond Fantasy Fiction, July 1954 (a sister publication of Galaxy). "No More Stars" was published as by "Charles Satterfield", a pseudonym generally associated with Frederik Pohl. The references I have cite "No More Stars" as by Pohl and Del Rey in collaboration. It is about 17,500 words long -- The Sky is Falling is twice that length, a radical revision throughout. (Though the basic plot is virtually identical -- but there are many new scenes, and expansions to existing scenes.)


This caused me to wonder about stories that first appeared as collaborations, but were expanded to novels under only one name. Three other examples come immediately to mind: James Blish and Damon Knight's story "The Weakness of RVOG" became Blish's novel VOR, Poul Anderson and F. N. Waldrop's novelette "Tomorrow's Children" (Anderson's first published story, and Waldrop's only story -- and I wonder how much he really contributed) became Anderson's novel Twilight World, and Samuel R. Delany and James Sallis's novelette "They Fly at Çiron" became Delany's novel They Fly at Çiron. Anyone have any further examples?

 [I wrote this in 2004 or so -- while I stand by my critical evaluations below I've softened on my disputes with the Grand Master decision in this and other cases, partly because SFWA has gone to one per year instead of a maximum of six per decade.] I am on record as not approving of the decision to make Lester Del Rey a Grand Master. I think a tenuous case can be made based on his editorial influence. He was editor of several minor magazines in the 50s, under various names (and he used to publish his own work under pseudonyms, so that as "Philip St. John" he edited SF Adventures and published "Lester Del Rey", and as Lester Del Rey he edited Space and published "St. John". Much more importantly, he was very influential in the 70s and 80s as an editor for Ballantine, and the Ballantine imprint Del Rey was named jointly after he and his wife Judy Lynn. In particular, Lester Del Rey discovered Terry Brooks's The Sword of Shannara, edited it rigorously, and made it a bestseller. In so doing he was crucial to popularizing the Tolkien-influenced subgenre we now call EFP, for "extruded fantasy product". So much for Del Rey the editor -- but my main interest is always in the writer. As a writer he was responsible for two stories in the SF Hall of Fame -- one a very good novella about a nuclear accident, "Nerves"; the other a forgettable and schmaltzy story about a robot "wife", "Helen O'Loy". Besides those stories there were a few more decent efforts ("For I am a Jealous People", "The Day is Done", "To Avenge Man", not much else); and several novels, many of which showed a quirky imagination and a desire to explore unpopular ideas, but none of which are really memorable. He really didn't publish all that much considering the length of his career. To my mind, it simply doesn't add up to a Grand Master's quality of work, nor even quantity.

Still, Del Rey was a pro. And he was a decent writer, and a writer who generally made an effort to have something to say. So both the stories in this Ace Double are readable, and they have some intriguing aspects. But neither is particularly special.

(Cover by Alex Schomburg)

Badge of Infamy opens with "the pariah who was Dr. Daniel Feldman" in a cheap flophouse. He diagnoses a man dying, but can do nothing for him. It seems that medical care is strictly regulated in this future -- and that anyone who performs medical care, or, worse, research, outside of an approved hospital will be severely punished. If the patient survives -- or, indeed, has his life save, as (we learn) in the case that made Feldman a pariah -- the punishment is loss of license. If the patient dies, even if death was inevitable, capital punishment applies. It seems that Feldman was a rising star in the profession before treating a friend who was injured in the backwoods -- now he has been abandoned, even by his wife, a doctor herself.

The dead man in the flophouse turns out to have a certificate as a spaceship worker, and Feldman leaps at the chance to assume the other's identity and take a job on a ship heading for Mars. He is found out and expelled on Mars. There he learns that the maximally evil Earth guilds are squeezing the Martians (i.e. human colonists, -- the old Martians are long dead), and those Martians in the rebellious villages in particular. There is only one hospital on Mars, and so treatment is very hard to come by. Feldman becomes a secret doctor. He faces death if he is discovered, and his problem is exacerbated by the fact that his wife has come to Mars to set up a second hospital.

He discovers a long-incubating Martian plague, that likely has already spread to Earth. Unless a cure can be found, the populations of both planets will be decimated. But when he tries to alert authorities to this danger, he is arrested for performing illegal research. He is sentenced to die.

Well -- what do you think? Will he really die? Will his psychotic wife realize that her support of the psychotic rules about medical research is stupid? Will she have to get the plague first to realize her mistake? Will the Martians rebel? C'mon -- we all know the answers! The basic problem with the story is that the bad guys are so absurdly evull that there is no believing in them. As 50s SF adventure it works OK -- it's quite competently done, reads swiftly, holds the interest, but it doesn't really make much sense at all.

(Cover by Vidmer)

The Sky Is Falling is on the whole a more ambitious and interesting work, though in the final analysis
not really successful either. Dave Hanson wakes up in pain. His last memory is of a bulldozer at a construction site in Canada falling onto him. If he has been saved, this hospital room seems strange, with people making strange gestures and wearing strange clothes, and talking about strange things.

He eventually learns that he is in some other world. He has died and been reconstituted for his engineering talent -- it appears that this world is a Ptolemaic universe, complete with a physical sky on which the stars and planets and sun are fixed. The sky is cracked, and they need someone to fix it. Unfortunately, Dave Hanson isn't the right guy -- his uncle David Hanson is the engineering genius, Dave is just a computer geek.

But he makes a brave try, then is kidnapped by the opposition, which believes that it is destiny that the sky crack open, and the world "hatch" from its egg. He is accompanied by a beautiful woman who misperformed a spell and ended up spelling herself in love with him by mistake. (Alas that she is a "certified and registered virgin".) It's not clear which side is right and which wrong, but perhaps it doesn't matter, until it occurs to someone that Dave's computer knowledge, combined with magical principles and an orrery, might actually be enough to repair the sky.

This is also pretty goofy stuff, but also kind of original. It gets points for the originality, for trying something new. But in execution it is sort of slapdash, and never really convincing.