Reading a fascinating conversation between Fred Pohl and Alfred Bester, that took place in Newcastle upon Tyne, 26 June 1978, (published in Rob Jackson’s Inca 5), and was amused by their comments on
Yes, it’s been a strange week! But thanks to the Mr. Door Tree and his nice posting of Basil Wolverton classics, I think I’ve got my brain back in place.
Having fun preparing for this year’s Boskone Art Show. Of course it’s crazy to hang my crummy sketches alongside the great artists you will see there, but hey let’s face it, I’m not going to be quit
This panel featured Jeanne Cavelos , Joy Marchand , David Nurenberg , Allan Steele and GOH Gardner Dozois , who discussed the relationship between writer and editor in the SF field and how the situation has changed. In their opening remarks, Cavelos related her experience as a senior editor in New York, where she found that the interest editors take in nurturing new authors from unknowns into big names has fallen victim to the push for blockbusters. Today, if an editor is not advocating for a bestseller to the senior editors, to her peers, to the sales division, to the assistant editors and designers she’ll be out of a job. Allen Steele pointed out that short fiction editors still manage to read the submissions they find interesting, and they’ll take the time to send comments back to the author or ask for changes. “Short fiction editors still edit,” said Dozois, “ but at the major publishing houses, who’s in charge? In fact, it’s the sales people who end up canceling book deals.” Nurenberg emphasized how incredibly valuable the feedback he received from games publisher White Wolf was to his career, “like water to a drowning man…“ As that analogy didn’t make much sense, he said, “I mean to a thirsty.” Somehow the object of the verb got lost, but we get the idea!
At my first Arisia, I found myself weaving through crowds of strangely-coiffed pirates, rocketeers, and gamers; wondering at what point my own personality would intersect with one of those cliques an
Happy New Year, and welcome to the same old story… At least in the comic pages sixty years ago, the standards of line art were fantastic, such as the panel above in Alex Raymond’s Rip Kirby. Now
As the new year arrives, I found that the fascinating annotated bibliography for truth-seekers, compiled by the late R. T. Gault has vanished from the web. Therefore, as both tribute to compiler an
Missed the premiere broadcast of Lloyd Dangle’s live streaming video feed last week, but somehow managed to tune in to the wrap up of this week’s “Big Ass Sarah Palin Episode.” And well worth it!
One thing that has baffled me for many years is the identity of the artist who painted the original covers of the Illuminatus! paperbacks, which were published by Dell in 1975. The signature, clear as day, reads: “Carlos Victor“, but I have never encountered any artist of that name in any reference. Wikipedia credits all the paintings to this mysterious artist. So let me say it first here: the identity of Carlos Victor is almost certainly the wonderful painter Carlos Ochagavia!
What a curious thread unraveled from reading the scanned issue of Telepath #1 on eFanzines this weekend. The fanzine, originally published by Arthur Haddon in Dec 1951, provided some tidbits of information about Australia’s first (if short-lived) SF pulp, Thrills Incorporated. This pulp was created by Stanley Horowitz’ Transport Publications following the the success of the weird mystery pulp, Scientific Thriller which appeared in 1948. Thrills Incorporated appeared in March 1950 and lasted for a total of 23 issues, ending in June 1952. In the pages of Telepath, one of the Sydney Futurian Society fans, Vol Molesworth (1924-1964), interviewed the editor of Thrills Inc which helped to “clear up a number of points that fans in Australia and abroad had been debating.” This may have been a reference to a series of plagiarisations that took place in the first year of Thrills issues. As the editor, Alister Innes, confessed to Molesworth, “In the early issues we were hoodwinked by certain unscrupulous writers who plagiarised American SF stories without our knowledge. As soon as this was pointed out by our readers, we sacked those writers. Our present day policy is to give an author a title and an illustration and get him to write a story around them.” What a curious way to run a magazine! On the other hand, there might have been no way for the editors to have known that the stories were plagiarized. According to Garry Dalrymple (via email), foreign science fiction magazines were treated as contraband in Australia between 1940 and 1950. As prohibited imports, issues of SF mags were discovered during routine inspection of the mails, and returned to sender. This quarantine resulted in a market for locally printed SF pulps of questionable quality. At that time, said Dalrymple, just about the only new stuff getting through to Sydney (and the Sydney Futurians) were gifts from Forry Ackerman! On the quality of production that went into those opportunistic Australian SF pulps, one author put it this way: “Very often, when the editor (Innes) was running to a tight schedule he would have the artwork already done and hand you a picture, saying ‘Three thousand worlds and a title, old boy, and I do need them by Friday.” One picture he gave me didn’t allow a lot of scope as far as the title was concerned, I thought, so I called it ‘Jet-Bees of Planet J’. He took another look at the picture when I brought in the manuscript, then looked at the title again ‘See what you mean, old boy’. He nodded approval. “Sort of self-propelled by their own farts.’