Black Gate

Here’s a pretty early Cele Goldsmith issue. The names on the TOC reflect that — a lot different than in the 1963-1965 era — only Ben Bova would be familiar from latter days, and he mostly did nonfiction.

The cover is by Edward Valigursky, another contributor who didn’t appear as much later on. (His last cover was for the May 1960 issue.) Interiors are by Leo Summers, Varga, and Virgil Finlay. The editorial, extremely brief, is as ever by Norman Lobsenz, and concerns suspended animation. S. E. Cotts’ book reviews cover Manly Wade Wellman’s The Dark Destroyers, which she enjoyed a great deal more than I did; The Outward Urge, by John Wyndham and Lucas Parkes, a fixup of four stories from Fantastic, which she didn’t like much at all; and John Brunner’s The World Swappers, which she thought quite good.

The lettercol has contributions from Chester F. Milburn, Mike Deckinger, Ronald Felty, Philip A. Harrell, Arthur B. Prag, and Tobey Reed.

The stories are:

Complete Novel

“Transient,” by Ward Moore (35,000 words)

Short Stories

“A Long Way Back,” by Ben Bova (6,000 words)
“Divvy Up,” by Milt Lesser (4,700 words)
“It’s a Good Trick If …,” by Kate Wilhelm (1,900 words)
“A Jar of Jelly Beans,” by Franklin Gregory (4,900 words)

To begin with the short novel. Ward Moore (1903-1978) published five novels, beginning with Greener Than You Think (1947). His most famous novel by far is Bring the Jubilee (1953), a very well-regarded alternate history in which the South wins the Civil War. He is also remembered for his last novel, Joyleg (1962), a collaboration with Avram Davidson, about a Revolutionary War veteran discovered to be still alive in the present time; and for a stunning post-Apocalyptic (or “during the Apocalypse”) story, “Lot,” along with its sequel, “Lot’s Daughter.” As a writer he started late and finished early, with the great bulk of his fiction appearing between 1947 and 1962 (though a few more stories appeared in the ’70s).

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These issues are significant in that they include the serialization of a Fafhrd and the Gray Mouser novella — but not just any novella: this includes the first and nearly only contribution to the series from Leiber’s original collaborator, and supposed model for the Mouser, Harry Fischer.

Each cover is by Ed Emshwiller, and they both illustrate the serial. The interiors in January are by Emsh, Lutjens (first name perhaps Peter?), Dan Adkins, Lee Brown Coye, and Virgil Finlay. In February they are from the same folks except for Coye.

The editorials concern, in January, Harry Fischer’s role in the creation of Fafhrd and the Grey Mouser, and in February, serious research in both the US and the Soviet Union into telepathy. There is a brief book review column in January, by S. E. Cotts, in which she praises Shirley Jackson’s The Sundial very highly, and is somewhat more reserved on R. DeWitt Miller’s Stranger Than Life, one of those books about “unexplainable events.” The February issue includes a lettercol, According to You, with letters from Bill Wolfenbarger (praise for Schomburg, and for the more horrific side of fantasy), E. E. Evers (much disdain for the November 1961 issue, even for the Le Guin story), and Norman Masters (hated Sharkey’s “The Aftertime,” likes Le Guin).

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The cover to this issue is by Robert Adragna. Interiors are by Adragna and George Schelling. The editorial concerns Sam Moskowitz’ series of Profiles of SF writers, and signals a change to essays by Moskowitz addressing SF’s treatment of certain themes, beginning in this issue with a discussion of Philip Jose Farmer and — you guessed it! — sex and SF.

The article — a fairly long one — begins with a review of some of the SF stories that occasioned controversy by brushing up against sexual issues, and continues with a detailed look at Farmer’s career to date (1964), including of course the controversy surrounding “The Lovers,” but also mentioning I Owe For the Flesh, the first version of To Your Scattered Bodies Go, which had been written for a contest in the early ’50s, and won, and was lost (I understand) after the contest sponsor (Shasta) ran out of money. On the whole, it’s an interesting and worthwhile piece, one of the better things I’ve seen from Moskowitz.

Robert Silverberg’s book review column covers Alfred Bester’s collection The Dark Side of the Earth, Fritz Leiber’s novel The Wanderer, and The Astounding Science Fiction Anthology, edited by John W. Campbell, Jr. Silverberg approves of all three books, and reserves especial praise for The Wanderer — a book which, I would suggest, has not retained much of a reputation (I myself have not got through it on two tries, though it has been a long time, and I suppose I should give it another chance.)

The stories are:

Short Novel

“The Further Sky,” by Keith Laumer (20,000 words)

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This was the last issue edited by Cele Goldsmith — with the next issue she became Cele Lalli, after her marriage.

Ed Emshwiller contributes the cover this time, to my taste not one of his best. Interiors are by Virgil Finlay, George Schelling, and a couple I don’t recognized, identified in the magazine only by their last names: McLane and Blair. Norman Lobsenz’ editorial discusses the effects of space and alien environments on humans, and goes on to wonder how we can justify terraforming planets on which other species live. Ben Bova’s science article, “Operation Shirtsleeve,” then discusses exactly that — how to terraform other planets so that humans can live comfortably there (in “shirtsleeves”).

Robert Silverberg’s book review column, The Spectroscope, first takes on Edgar Rice Burroughs, both on his own (The Cave Girl) and via a slavish imitator (Otis Adelbert Kline, with Prince of Peril). Silverberg’s verdict: “unmitigated trash, subliterate claptrap barely worth the time of children.”

(My verdict, based on a very limited sample (ERB’s first novel, A Princess of Mars aka “Under the Moons of Mars“) is a bit more forgiving — claptrap and trash it may be, but it’s definitely mitigated — at least early in his career Burroughs offered an energetic glee that made him worth reading despite the silliness.)

Next he reviews a couple of collections by major writers — one is an SFWA Grand Master, the other died too young to be named a Grand Master but would certainly have been one eventually, and one of the very best. So: Silverberg finds James Gunn’s Future Imperfect somewhat disappointing next to the best of Gunn’s work; but he finds Sturgeon in Orbit surprisingly better: even though it features uncollected early ’50s stories it manages to surprise with some good stuff, particularly “The Incubi of Parallel X,” a wild piece full of cliches from Planet Stories in 1951 that Sturgeon redeemed with his panache. (I read that story in the Planet Stories issue it appeared in (not in 1951 though!) and I completely agree!)

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Back to Cele Goldsmith’s era at Amazing. This issue has a couple of middling stories by two of the strangest and most original of SF writers. The cover is by Lloyd Birmingham, illustrating Cordwainer Smith’s “Drunkboat.” Interiors are by Birmingham, George Schelling, and Frank R. Paul (who had just died). Indeed, Norman Lobsenz’ editorial opens by mentioning Paul’s death (Paul, of course, famously painted the cover for the very first issue of Amazing); and goes on somewhat randomly to mention a National Spelling Bee winner who credited reading SF for his vocabulary (though reading Amazing could hardly have helped his spelling, given the standard of proofreading displayed this issue!); and then mentions Groff Conklin’s latest anthology, Great Science Fiction About Doctors (which in fact made a point of including a number of stories BY doctors, though none by the Good Doctor*).

(*Of course, Isaac Asimov was not a medical doctor, though he was a professor at a medical school.)

“Or So You Say …,” the letter column, features letters by Kathryn Avila (complaining about the low quality of the July issue), Norman M. Davis (praising Robert Young’s “Redemption,” one of the stories Avila had complained about), and Paul Scaramazza, theorizing that the then low (he says) status of fantasy literature is the fault of readers without imagination.

In The Spectroscope, S. E. Cotts reviews a now quite obscure book, The Fools of Time, by William E. Barrett, and an anthology from Sam Moskowitz, The Coming of the Robots. (She [as I now assume Cotts was] didn’t like the first, did like the second.) Moskowitz himself contributes a Profile of Edmond Hamilton.

The stories are:

Novelets

“Drunkboat,” by Cordwainer Smith (11,200 words)
“The Prince of Liars,” by L. Taylor Hansen (17,300 words)

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