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Category: Vintage Treasures

Tor Doubles #1: Arthur C. Clarke’s Meeting with Medusa and Kim Stanley Robinson’s Green Mars

Tor Doubles #1: Arthur C. Clarke’s Meeting with Medusa and Kim Stanley Robinson’s Green Mars

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Meeting with Medusa cover by Vincent di Fate
Green Mars cover by Vincent di Fate

Tor Double #1 was originally published in October 1988.  This volume marked the beginning of the official Tor Double series. The two stories included, Arthur C. Clarke’s Meeting with Medusa and Kim Stanley Robinson’s novella Green Mars complement each other, although by doing so, Green Mars also points out a weakness of Meeting with Medusa. The volume was published as a tête-bêche, with both covers were painted by Vincent di Fate.

Meeting with Medusa was originally published in Playboy in December, 1971. It was nominated for the Hugo Award and Nebula Award, winning the latter, as well as the Seiun Award.

The novella opens with Captain Howard Falcon commanding a massive airship, the Queen Elizabeth IV, over the Grand Canyon. A collision with a drone camera causes the ship to crash, killing nearly everyone on-board, including the uplifted chimpanzees who served as part of their crew. Although horribly injured in the crash, Falcon survived and spends years regaining his ability to function, eventually returning to his job as a pilot with an audacious plan.

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Tor Doubles: #0: Keith Laumer’s The Other Sky and The House in November

Tor Doubles: #0: Keith Laumer’s The Other Sky and The House in November

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The Other Sky cover by Thomas Kidd
The House in November cover by Mike Embden

Between October and December of 1969, Keith Laumer’s novella The Seeds of Gonyl were published as a serial in the magazine Worlds of If. The story was published the following year in a hardcover by G.P. Putnam & Sons under the title The House in November, and in 1971 as a paperback by Berkley Medallion.

In 1981, Tor reprinted the novel as part of its “Jim Baen Presents” series, but, apparently deeming the novel too short, it paired it with Laumer’s story “The Further Sky,” which had originally be published in the December 1964 issue of Amazing Stories. That story had also undergone a name change and appeared as “The Other Sky” in various reprints, including its appearance with The House in November.

When Tor Books reprinted the volume in 1985, they included a shield on the cover identifying the book as a “Tor Double.” This book may possibly have been created as a dry run or proof of concept for the eventual Tor Double line.  The cover for The Other Sky was provided by Thomas Kidd and the cover for The House in November was provided by Mike Embden, although their credits are reversed on the copyright pages.

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Sword & Sorcery on a Post-Apocalyptic Earth: Blackmark by Gil Kane

Sword & Sorcery on a Post-Apocalyptic Earth: Blackmark by Gil Kane

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Blackmark by Archie Goodwin and Gil Kane (Bantam Books, January 1971). Cover by Gil Kane

As I’ve mentioned before, I didn’t grow up with comics. They weren’t available in my small, rural town of Charleston, Arkansas in the 1960s and 70s. The first store to carry them appeared around ’74 and had a small spinner rack with a dozen or so titles. By then I was already reading regular books and the comics, while they had interesting art, had much less story than books. I bought a few but never got hooked and knew virtually nothing about any comics creator.

As an adult in my fifties, I watched a movie called The Watchmen, which was very good, and I bought the original graphic novel by Alan Moore. I was blown away by the complex storytelling and started buying other graphic novels. I finally started to learn about some of the great comic book creators over the years. I still don’t consider myself a comic book reader but I keep an eye out for items that might interest me. That’s how, in 2019, I found a cool little book called Blackmark, “by Gil Kane.”

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The Sword & Planet Tales of Ralph Milne Farley

The Sword & Planet Tales of Ralph Milne Farley

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An Earthman on Venus (Avon, 1950). Cover by Raymond Johnson

Ralph Milne Farley (1887 – 1963) was a pseudonym for Roger Sherman Hoar. Hoar was a Massachusetts senator and an attorney general, so I can understand his use of a pseudonym to write his SF stories under, but I can’t imagine why he’d choose one just as long and awkward as his real name, and even less memorable.

At any rate, Farley was friends with Edgar Rice Burroughs and wrote his own series of Sword & Planet adventures sometimes called the Radio series, since most of the books featured the term radio in their titles.

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The Beating Heart of Science Fiction: Poul Anderson and Tau Zero

The Beating Heart of Science Fiction: Poul Anderson and Tau Zero

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Tau Zero (Millennium/Gollancz SF Masterworks, February 2006). Cover by Dominic Harman

Science fiction — what is it, really? What elements place a story firmly in the genre? For any requirement that you can think of, there is probably a great sf story that violates it, and rather than cobble together some dictionary-ready definition, it’s easier to just think of particular books that you would hand to someone unacquainted with the genre with the words, “Here — read this; this is science fiction!”

Everyone would have their own choices for such a list, of course, and those choices would amount to your de facto definition. For me, some of those books would be Rendezvous with Rama by Arthur C. Clarke, The Stars My Destination by Alfred Bester, and Man Plus by Frederik Pohl, but the very first book on my list would be Poul Anderson’s 1970 novel Tau Zero. Why? What does this book have that makes it a quintessential work of science fiction?

Maybe it’s this — it’s a grand voyage, a brave excursion into the great out there, and it also has a grand perspective shift, like a camera pulling back in a movie, a maneuver that radically alters everything that you had previously thought about the story, something that’s not a minor adjustment, but a move that completely explodes the frame. You think the story is this, but it’s really that, you think you’re here, but you’re really there; the here where you thought you were turns out to be the tiniest corner of there, a there that is larger and stranger and more dizzying than you ever could have originally imagined. (In The Encyclopedia of Science Fiction, Peter Nicholls calls this kind of maneuver a “conceptual breakthrough.”)

Tau Zero begins as a straightforward story of an interstellar voyage, but it ends as far away from that prosaic beginning (prosaic by the standards of science fiction, I mean) as it is possible to imagine. Farther than that, really, and I think that’s the whole point.

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In the History of Vintage Science Fiction & Fantasy, Nothing Compares to Gnome Press

In the History of Vintage Science Fiction & Fantasy, Nothing Compares to Gnome Press

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Isaac Asimov’s I, Robot and the Foundation Trilogy. Robert A. Heinlein’s Sixth Column. Arthur C. Clarke’s first three novels. The entire Conan saga from Robert E. Howard. The International Fantasy Award winner City by Clifford D. Simak. The Hugo Best Novel winner They’d Rather Be Right from Mack Clifton and Frank Riley. Books by L. Sprague de Camp and Fletcher Pratt, A. E. van Vogt, C. L. Moore and Henry Kuttner, Murray Leinster, Frederik Pohl, Jack Williamson, Andre Norton, and James Gunn.

Those would be a solid core of any collection of vintage f&sf. Yet those books and dozens of others appeared in a few years from just one small publisher: Gnome Press.

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Of Men, Monsters, and Little People

Of Men, Monsters, and Little People

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Of Men and Monsters, by William Tenn
(Ballantine Books, December 1975). Cover by Boris Vallejo

After posting about The Borrowers by British author Mary Norton (1903 -1992) last week, several people mentioned other books and movies with similar kinds of themes — little people living in the houses of big people. I thought I might take another post to discuss a few other examples from my own book collection.

First up is series by American author John Peterson (1924 – 2002). The first one was just called The Littles and was published in 1967, 15 years after The Borrowers (1952). The Littles live much like the “borrowers. They look human except for having tails. (In films they apparently look very mouselike but that’s not the case in the books.)

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One of the Finest Achievements of Heroic Fantasy in the 20th Century: Dilvish, the Damned by Roger Zelazny

One of the Finest Achievements of Heroic Fantasy in the 20th Century: Dilvish, the Damned by Roger Zelazny

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Dilvish, the Damned (Del Rey, November 1982). Cover by Michael Herring

Roger Zelazny was unquestionably one of the great American fantasists of the 20th century. That’s not to say he was perfect. His woman characters were often 2-dimensional, and he paired an unwillingness to work with an outline (“Trust your demon” was his motto) with a fondness for projects that really needed an outline.

But perfection is boring. Zelazny rarely is. Much of Zelazny’s work is on my always-reread list, anyway. He had a nifty way of putting things, and in describing the Amber series he brilliantly expressed the kind of fiction I love best and have often tried to write: “philosophic romance, shot through with elements of horror and morbidity.” Philoromhorrmorbpunk. That’s my genre. Or you could just say sword-and-sorcery.

Some people doubt whether Zelazny counts as a sword-and-sorcery writer, but he didn’t doubt it. He described not only the Corwin novels but also big chunks of Lord of Light as sword-and-sorcery. Some people think that a story only counts as S&S if it has a Clonan at its center, but as far as I’m concerned, if you’ve got an outsider hero on a personal mission in a landscape of magical adventure, and there are swords or other edged weapons, you’ve got sword-and-sorcery.

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And Now For Something Completely Different: The Borrowers, by Mary Norton

And Now For Something Completely Different: The Borrowers, by Mary Norton

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The Borrowers and The Borrowers Afield, by Mary Norton
(Odyssey/Harcourt, January 1998). Covers by Marla Frazee

I’ve done four posts in a row on Edgar Rice Burroughs, with more to come. But right now it’s time for a change of pace.

It’s going to be a big change for this particular post. It’s about The Borrowers. In my late teens, after I learned Andre Norton was a woman, someone told me she’d written books under her own name of Mary Norton, and that one was called The Borrowers. Turns out this wasn’t true; her original name was Alice Mary Norton, although she changed it legally to Andre Alice Norton in 1934. This was in the late 1970s, pre-internet, and I believed Andre Norton wrote The Borrowers for several years. It added to her charm for a while because I’d read The Borrowers when I was 11 or 12 and adored it.

The Borrowers may seem pretty far afield from Sword & Planet fiction, but the story of little people living in human houses and borrowing things from them, which would explain why things got “lost,” inspired my imagination and I invented many stories of myself shrunk down to that size and adventuring. After I wrote Swords of Talera, my first S&P novel, I toyed with the idea of writing an S&P story with borrower size characters but never did. Many many years later I discovered a graphic novel from DC called Sword of the Atom, which somewhat scratched that itch for me. (More on that later.)

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Half a Century of Reading Tolkien: Part Three – The Two Towers by JRR Tolkien

Half a Century of Reading Tolkien: Part Three – The Two Towers by JRR Tolkien

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Gollum sat up again and looked at him under his eyelids. ‘He’s over there,’ he cackled. ‘Always there. Orcs will take you all the way. Easy to find Orcs east of the River. Don’t ask Sméagol. Poor, poor Sméagol, he went away long ago. They took his Precious, and he’s lost now.’

‘Perhaps we’ll find him again, if you come with us,’ said Frodo.

‘No, no, never! He’s lost his Precious,’ said Gollum.

Sméagol from The Taming of Sméagol of  The Two Towers

When I was younger, The Two Towers (1954) seemed to suffer from middle-book syndrome: the bits after the start of series that had to be trudged through in order to reach the exciting end. Not all of it — it does feature a big battle complete with magic and explosives — but Frodo, Sam, and Smeagol’s trek to Mordor sometimes felt as arduous for me to read as it was for them to cross the swamp and slag heaps. Now, I believe The Two Towers, and the second half, The Ring Goes East, is the heart of the whole series. Nowhere does Prof. Tolkien speak more clearly on the weight of war, the burden and necessity of standing against evil, and the eroding effects of that duty.

The Two Towers has some of the most powerful writing in all the trilogy. There are several passages that have never failed to move me. That one of the most powerful of these lines was taken away from Sam  carelessly given to Bad Faramir (more on that atrocity later), is one of the greatest crimes among the many I hold against Peter Jackson.

It’s the book of the trilogy that contains the most obvious references to Tolkien’s own service at the Somme in 1916. In the comments on my first article in this series, Half a Century of Reading Tolkien: Part One, K. Jespersen wrote that the books tasted of ashes, a flavor he linked directly to the First World War. I don’t tastes ashes in the books myself, but there are chapters redolent  of them.

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