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Category: Art

Alien Quakes, Space Birds, and Door-to-Door Salesmen in Space: The Art of The Original Science Fiction Stories

Alien Quakes, Space Birds, and Door-to-Door Salesmen in Space: The Art of The Original Science Fiction Stories

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The Original Science Fiction Stories May 1956-small The Original Science Fiction Stories January 1957-small The Original Science Fiction Stories November 1958-small

I recently bought a small collection of The Original Science Fiction Stories, a 1950s digest magazine that lasted for only 36 issues. I paid $18 for a dozen issues (including shipping), which was more than I usually pay for SF digests — but still a bargain, especially considering the great shape they were in. I was willing to pay a little more because I’ve had a hard time finding copies. Analog, Galaxy, F&SF — they’re all pretty easy to obtain in the same vintage. But Original Science Fiction Stories has done a good job of eluding me.

When they finally arrived, I was immediately struck by the cover art. It was vibrantly colorful and frequently gorgeous. But more than that, it was downright playful. Most SF magazines of the era took themselves very, very seriously, with intrepid, square-jawed explorers and sleek spaceships on their covers. But The Original Science Fiction Stories featured much more prosaic images, frequently showcasing less-than-heroic characters. They featured very ordinary-looking space pioneers reacting to an alien earthquake, a man on a remote planet hiding from a door-to-door salesmen, and a space-suited explorer dealing with an unexpected alien threat — a bird pecking at his air hose (all images above by Emsh).

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Vintage Treasures: The Horror Horn by E. F. Benson

Vintage Treasures: The Horror Horn by E. F. Benson

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The Horror Horn E.F. Benson-smallIs Bruce Pennington the finest cover artist in publishing history?

Probably. I talked at length about my own interest in his art — and how we licensed two of his paintings as covers for Black Gate — in The Lost Art of Bruce Pennington. Over the years, I’ve collected much of his work and seen a great deal more online and in various art books, but from time to time I’m still surprised to see a previously undiscovered Pennington cover on a hard-to-find book (as I was with the Panther edition of Fritz Leiber’s Night Monsters back in January.)

So you can understand my delight last week when I stumbled upon The Horror Horn on eBay, a 1974 collection by British horror writer E. F. Benson. It had a marvelously macabre cover by Bruce that I’d never laid eyes on before. In fact, I didn’t even know this book existed. The bidding stood at 5 bucks, with less than two days to go.

Well, you know how reluctant I am to pay more than $8 – $10 for a paperback. It’s rare indeed that the patient collector has to pay more than that for anything. But this was an exception, and I submitted my bid for $14 and sat back to see what happened.

In the meantime, I did a little homework on E. F. Benson. We’ve never really mentioned Benson here before (although he’s popped up in horror collections from time to time, including Otto Penzler’s magnificent The Vampire Archives and Henry Mazzeo’s Hauntings: Tales of the Supernatural), and that’s probably an oversight.

Benson, who died in 1940, was an English novelist and short story writer, with 68 novels to his credit and 10 collections published in his lifetime. He was a frequent Weird Tales contributor and he also appeared regularly in British publications like Hutchinson’s Magazine and The Illustrated London News.

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Collect the Complete Faber & Faber Editions of Robert Aickman’s Classic Ghost Stories

Collect the Complete Faber & Faber Editions of Robert Aickman’s Classic Ghost Stories

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The Unsettled Dust Robert Aickman-small The Wine Dark Sea Robert Aickman-small Cold Hand in Mine Robert Aickman-small

About a month ago, I reported (with some delight) on my acquisition of Robert Aickman’s Dark Entries, a reprint collection of the author’s ghost stories from British publisher Faber and Faber.

I was so pleased to get it — and the book was just so damn gorgeous — that it wasn’t long before I started hunting down Faber and Faber’s other Aickman reprints: The Unsettled Dust, The Wine Dark Sea, and Cold Hand in Mine. All three are collections, gathering the author’s short stories and novellas.

Aickman has long been recognized as one of the finest horror writers in the field. He received the World Fantasy Award in 1975 for his short story, “Pages from a Young Girl’s Journal,” originally published in The Magazine of Fantasy & Science Fiction and reprinted in Cold Hand in Mine. In 1981, the same year he died, he was awarded the British Fantasy Award for “The Stains,” which originally appeared in New Terrors, and was eventually reprinted in The Unsettled Dust.

The covers of the new Faber and Faber editions are by Tim McDonagh, and they are absolutely stellar (click the images above for bigger versions). I love them all, but perhaps my favorite is The Unsettled Dust, with its subtle portrayal of two children taking a late-night shortcut across a spooky English landscape. McDonagh’s hyper-detailed, almost comic book style fits the subject matter beautifully; he captures the brooding menace of Aickman’s “strange stories” better than any artist I’ve ever seen.

All four books are currently in print in trade paperback, priced at £7.99 – £8.99, or around 8 bucks each for the digital editions. The print editions are not directly available in the US; I ordered them from an overseas book vendor through Amazon for between $8 – $9 each, plus shipping.

Danger: Here There Be Dragons (and Clever Children!)

Danger: Here There Be Dragons (and Clever Children!)

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paperbagPossibly the most rambunctious children’s author out there is Robert Munsch, whose characters drive bus loads of pigs to school, vanish beneath layers of permanent markers, and scream in the bath with sufficient volume to summon the police.

All of his (uniformly excellent) picture books employ elements of fantasy, but only once, to my knowledge, did he and his regular collaborator, illustrator Michael Martchenko, depart entirely our real and rational world long enough to include that nemesis of humanity: the green-scaled, fire-breathing dragon.

Yes, it’s The Paper Bag Princess, one of the best kids’ books I know, rife with hilarious prose, ebullient artwork, and the pluckiest heroine this side of Dorothy Gale. Who says girls can’t have adventures?

The plot is a model of efficiency. Princess Elizabeth lives in a castle, and she’s got riches and a boyfriend, Roland, whom she expects to marry. Curly blonde Roland sports a crown and a tennis racket, and just to be sure we get the idea, Martchenko adds a butterfly cloud of hearts around Elizabeth’s smitten head.

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Vintage Treasures: The Gods Hate Kansas by Joseph Millard

Vintage Treasures: The Gods Hate Kansas by Joseph Millard

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The Gods Hate Kansas-smallWith my Vintage Treasures posts, I like to showcase the best overlooked fantasy of the past half century or so. American fantasy is an enormously rich genre, but it also has a notoriously short memory, and there are countless buried treasures to rescue from undeserved obscurity.

Of course, sometimes I like to forget all that and just showcase the weird.

Joseph Millard was an American pulp science fiction writer who published nearly a dozen short stories between 1941 and 1943, and then apparently gave up writing for good. Most of his stories appeared in magazines like Thrilling Wonder Stories, Amazing Stories, Fantastic Adventures, and other pulps. He died in 1989.

In November 1941, he published his only novel, The Gods Hate Kansas, in Startling Stories magazine. It was reprinted a decade later in the November 1952 issue of Fantastic Story Magazine, and then appeared in paperback in February 1964 from Monarch Books, with a brilliantly gonzo cover by Jack Thurston, featuring a raygun-wielding hero riding bareback on a little red number and giving the business to an earnest-looking bug-eye monster. I love this cover with a fierce passion, and I thank Joseph Millard for making it all possible. (Click the image at left for a mondo-sized version.)

The cover isn’t the only brilliant thing about this novel. There’s also the title. Why do the gods hate Kansas? What the hell did Kansas do, anyway? It’s one of those questions that brings you back to the paperback rack next to the checkout lane for a second look. Just 40 cents and the answer could be yours.

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Vintage Treasures: Down to a Sunless Sea by Lin Carter

Vintage Treasures: Down to a Sunless Sea by Lin Carter

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Lin Carter Down to a Sunless Sea-smallWe’re big fans of Lin Carter here at Black Gate. He was one of the most influential figures in 20th Century fantasy, chiefly as the editor of the Ballantine Adult Fantasy (BAF) line of paperback reprints, the six volumes of The Year’s Best Fantasy Stories, and the groundbreaking Flashing Swords! sword & sorcery anthologies. He was also one of the hardest working professionals in the genre. Carter edited a BAF volume every single month between May 1969 and April 1974 (65 total), and in the same time period produced over a dozen novels and numerous short stories.

Although his own fiction output was prodigious, Carter is remembered today chiefly as an editor rather than a writer. In his fond review of Carter’s 1984 novel Kellory the Warlock back in March, Fletcher Vredenburgh gave us a blunt assessment of his skill as a writer:

Poor Lin Carter: perhaps the greatest champion heroic fantasy ever had, an editor with few equals, one of the most knowledgeable fan boys in the world, but a poor writer. I think he would have liked his stories and novels to be remembered more fondly than they are. I believe Kellory the Warlock proves he had the potential to have been a better writer…

Most of his fiction, rarely more than pastiches of his favorite authors (Howard, Burroughs, Lovecraft, and Dent), never garnered enough attention to be republished… Carter was no master stylist and it can get a little irritating. Most of the time, he was trying to create fun, quick reads that were recreations of his favorite writers. In a way, he was writing fan fiction; it’s just that he got his published.

Personally, I’ve always been curious about Carter’s Mars novels, since they seem to be more fondly remembered today than much of his other fiction. I’ve always assumed they were Burroughs pastiches, but the Author’s Note to the final volume, Down to a Sunless Sea, makes it clear that they were actually inspired by the Queen of sword-and-planet fiction, the great Leigh Brackett herself.

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Art of the Genre: Photographs from a Long Lost Lake Geneva

Art of the Genre: Photographs from a Long Lost Lake Geneva

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Cartographer Dennis Kauth wants a piece of Larry Elmore's beautiful mind!
Cartographer Dennis Kauth wants a piece of Larry Elmore’s beautiful mind!

Over the past four years, I’ve struck up a friendship with Nick Parkinson, son of the late fantasy and D&D artist Keith Parkinson. We both live in San Diego and it is always nice to share thoughts on the sweeping industry of games as a whole.

One thing very few people understand who look into fantasy art is that the bulk of all artists DO NOT play RPGs.  Of the ‘Big Four’ for TSR (Elmore, Easley, Parkinson, and Caldwell), only Keith actually played Dungeons & Dragons.

Todd Lockwood was a D&D player until he started working at TSR in the late 1990s and he often speaks about how the ‘magic was gone’ once he started actually designing the game. That is a subject I’ll look at another day, however, although it is intriguing.

Anyway, I’m getting a bit off target here, so let me refocus. Nick and I had a conversation where I was looking to acquire a few old character sheets from ‘famous’ players for an io9 article a friend was writing and he said he’d just seen some of his father’s old sheets when he’d moved a few months before.

A week later, I didn’t get the character sheets, but he did send over a nice grouping of old TSR photographs and I was very interested to see the ‘process’ of how these great creators worked together to make some of the famous images we all know and love.

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Collecting Lovecraft, Part II

Collecting Lovecraft, Part II

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Lovecraft Ballantine Paperback collection-small

It’s almost too easy to get the complete works of H.P Lovecraft. Barnes and Noble, just for example, sells a handsome single-volume complete edition of his work (all 1112 pages!) for just $18. So why on earth would you ever want to spend your time and money collecting vintage paperbacks containing only a fraction of his complete works?

I made a half-hearted attempt to answer that question in the first article of this series, Collecting Lovecraft. Collecting is an emotional hobby, not a rational one, so trying to fathom the collecting urge purely on a rational basis is only going to get you so far. In truth, it usually boils down to something as simple as fondness for cover art, or nostalgia for the particular edition that first introduced you to an author.

Above you can see a colorful assortment of Lancer and Ballantine paperback editions of H.P. Lovecraft originally published between 1967 and 1973: The Colour Out of Space (1967), Tales of the Cthulhu Mythos, Volume 2, edited by August Derleth (1969), The Shuttered Room and Other Tales of Horror, by Lovecraft and Derleth (1973), The Survivor and Others by Lovecraft and Derleth (1971), and The Spawn of Cthulhu, edited by Lin Carter (1971). Truthfully, I’m not too fond of these covers, and they don’t hold any particular nostalgia for me — they were all out of print long before I discovered Lovecraft. So why was I so determined to buy them?

Back in August the New York Times published a fascinating article about Zero Freitas, the Brazilian millionaire collecting every vinyl record ever made. I don’t mean one copy of every record, I mean every single piece of vinyl with music on it in the world. He’s amassed millions so far. I distinctly remember the first time I read the piece, I nodded along and thought, “Yeah, I get it.”

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Vintage Treasures: Silverglass by J.F. Rivkin

Vintage Treasures: Silverglass by J.F. Rivkin

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Silverglass-smallThere’s no shortage of fantasy fiction with strong women heroines these days — in fact, if you’re standing in front of the urban fantasy section of your local bookstore, I wouldn’t be surprised if you assume that that’s all there is.

I do hear the occasional observation that this is entirely a modern development however, and obviously that’s not true. Yeah, adventure fantasy was largely dominated by male writers in the 20th Century (and male editors, and male art directors, but that’s a different topic.) But it wasn’t just trailblazers like C.L. Moore, Anne McCaffrey, and Joanna Russ creating popular female heroes. Even in midlist fantasy, there were popular sword-wielding women characters, many of whom are forgotten today.

Are they worth remembering? That’s a different question.

I’ve always wanted to find out. Recently I’ve been curious about the Silverglass books by J.F. Rivkin, four novels published between 1986 and 1991: Silverglass, Web of Wind, Witch of Rhostshyl, and Mistress of Ambiguities. The first one crossed my desk again last night, part of a small paperback collection I recently acquired, and I dipped into it long enough to be intrigued.

Probably the reason I’ve remembered these books so long is the colorful wraparound covers by Royo. For Silverglass, he surrounded our heroine with an interesting cast of characters in what looks like an underground tavern — a setting that immediately spoke to me of adventure in 1986. The main selling point is summarized in the Piers Anthony blurb at the top:

It’s fun to see a tall, handsome, hard-fighting, hard-drinking barbarian hero — who is female.

Here’s the book blurb, and high-res scans of the front and back covers.

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Art of the Genre: Roger Dean, Asia, and Finding Myself in ’82

Art of the Genre: Roger Dean, Asia, and Finding Myself in ’82

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asia_alphafThere was a time back in my middle-school days when friends of mine were allowed to join those ‘record clubs’ that you could find in magazine ads. You might remember these deals, where you’d pay like a penny and get twelve cassette tapes if you promised to buy six at regular price over the next year. Now for an eleven-year-old, this was a pretty significant addition to a small tape collection, so imagine my chagrin when I’d see friends show up with all this new music and me still with such a modest collection.

It was during one of these bulk purchases that my best friend at the time, Jason, picked up a copy of Asia Alpha. Jason eventually moved away after 7th grade, but years later, we became roommates in college during our freshman and sophomore years in the dorm. During our time together, around 1990, I purchased an Asia collection (Then and Now) on disc and Jason asked what I’d purchased. When I told him, he replied ‘I don’t know that band’, and I was like, ‘What!? You owned Asia Alpha back in middle school!’ and he was like ‘I did?’ I guess the moral of that particular story is that when providing twelve tapes at once to an eleven-year-old, it might be more about the bragging rights and cool factor than the music.

Anyway, the prime reason I’d remembered he had the tape was that the album cover was so incredibly cool. It was far beyond anything I’d seen at the time and to this day I’m still pretty enchanted with it. Many years would pass before I discovered that the artist was Roger Dean, and that he’d been doing funky and incredible alternate fantasy images for more years than I’d been alive.

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