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Analog, July 1961: A Retro-Review

Analog, July 1961: A Retro-Review

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analog-july-1961This is one of the earlier issues after Astounding completed its name-change to Analog. (The issues from February through September 1960 showed both titles on the cover – so October 1960 was the first purely Analog issue.)

Its Table of Contents is familiar to readers of the magazine even to the present day – there’s an editorial, there’s In Times to Come, there’s The Reference Library (book reviews), there’s the letter column (Brass Tacks). There is also a Science Fact article, and a serial, two novelettes, and two short stories.

The only item you won’t find in most present-day issues is The Analytical Laboratory, which ranks the stories from the issue two months earlier based on reader votes. (This was discontinued some time after I became a subscriber in the ’70s – I remember sending in my postcard with my votes a number of times.)

At any rate, for the April issue the number one story was the opening of Clifford Simak’s serial “The Fisherman”, better known these days by the book title, Time is the Simplest Thing.

The cover shows an asteroid mining setup. It’s by Thomas, who did a few covers for Analog in 1961 and 1962, and nothing much else I can find. I don’t even know his first name. Interiors are by Douglas, John Schoenherr, and H. R. Van Dongen.

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Vintage Treasures: The Beast with Five Fingers by W.F. Harvey

Vintage Treasures: The Beast with Five Fingers by W.F. Harvey

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the-beast-with-five-fingersTwo weeks ago, I mentioned The Power of Darkness: Tales of Terror, by Edith Nesbit, a volume in the Wordsworth Tales of Mystery And The Supernatural (or, as we prefer to call it, TOMAToS).

I first discovered Wordsworth’s excellent Tales of Mystery And The Supernatural line, believe it or not, wandering the floor at the Windy City Pulp and Paperback show in Chicago with fellow pulp aficionados Howard Andrew Jones and John C. Hocking. We’d just passed a dealer selling omnibus collections of Ki-Gor reprints — which heartily tempted Howard, let me tell you — when Hocking became distracted by a thick volume on display amidst a vast sea of books: The Beast With Five Fingers, by W.F. Harvey.

I’d never heard of Harvey, although he’s fairly well-known in pulp circles for the short story that became The Beast With Five Fingers, a 1946 creeping-hand horror flick starring Peter Lorre. Hocking’s excitement had nothing to do with the cover story however, and everything to do with “The Clock,” which he described as one of the finest horror stories ever written. That was enough for me, and I took home a copy.

Hocking is not alone in his admiration. In Gahan Wilson’s anthology Favorite Tales of Horror, which includes “The Clock,” Wilson famously wrote:

I think that for sheer menace this is the most powerful story I have ever read, though exactly what it is that is menacing, and exactly what it is menacing to do are entirely mysterious.

I’m happy to say that the story lives up to its reputation. It’s a tiny marvel, splendidly written, about a mysterious and macabre encounter in an abandoned home. Or is it? Like much of the best gothic fiction, exactly what happened is open to interpretation.

But there’s more to The Beast with Five Fingers than just “The Clock” — much more — and I’m happy to say I’ve been enjoying the entire book. (If you’re not the patient sort, however, the complete text of “The Clock” is available online.)

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New Treasures: Pax Britannia: Pax Omega, by Al Ewing

New Treasures: Pax Britannia: Pax Omega, by Al Ewing

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pax-omega-smallI have a weakness for pulp fiction. There aren’t a lot of practitioners of true pulp fantasy today — as opposed to pulp parody, which seems to be all too common.

A notable exception is Al Ewing, whose first novel of the Pax Britannia series, El Sombra, featured stormtroopers from the Ultimate Reich, mechanized horrors terrorizing a small Mexican town, and the torture-parlors of Master Minus and his Palace Of Beautiful Thoughts. The second installment, Gods of Manhattan, introduced The Blood Spider, Doc Thunder, and the monstrous plans of the Meccha-Fuhrer, set against the backdrop of the steam-powered city of tomorrow, New York USS. The final volume of the trilogy, Pax Omega, arrived this spring and sounds like the most intriguing of the bunch.

Doc Thunder’s last stand against a deadly foe whose true identity will shock you to your core! El Sombra’s final battle against the forces of the Ultimate Reich! The Locomotive Man in a showdown with cosmic science on the prairies of the Old West! Jackson Steele defends the 25th Century against the massed armies of the Space Satan! A duel of minds in the mystery palaces of One Million AD! Blazing steam-pulp sci-fi the way you crave it! From the Big Bang to the End Of Time — eleven tales from Pax Britannia’s past, present and distant future combine into one star-spanning saga set to shake the universe to its foundations –- or destroy it!

That’s a lot of exclamation marks. But when your sentences include words like Ultimate Reich and Space Satan, I guess they look kinda naked without ’em.

I don’t have the other two volumes, and I wonder if I can start with this one. I’ll give it a try and let you know.

Pax Britannia: Pax Omega was published by Abaddon in April, 2012. It is 266 pages in trade paperback for $9.99, or $5.99 for the digital edition.

Vintage Treasures: The Case of the Marble Monster

Vintage Treasures: The Case of the Marble Monster

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the-case-of-the-marble-monster-smallWhen you have kids, I think it’s inevitable that you want them to read the books you loved most as a child. You parents out there know what I’m talking about. And be honest. It’s not enough for them to just read ’em, is it? No. You want your kids to love those books, the same way you did.

I’ve had pretty spotty luck, frankly. Couldn’t get any of my children interested in Alfred Hitchcock and the Three Investigators, for example. Sometimes I despair for future generations. I had a bit more luck with my teenage boys and the classic SF and fantasy of my own early teens, such as Dune and Lord of Light.  (Asimov’s Foundation Trilogy was a complete bust, however).

But in terms of reaching all three of my kids, both boys and my 13-year old daughter? Almost impossible.

Except for a few slender volumes from Scholastic Books, that is. Scholastic Books were some of the great treasures of my childhood, and I loved them with a fierce passion. Norman Bridwell’s How To Care For Your Monster, John Peterson’s The Secret Hide-Out, Bertrand R. Brinley’s The Mad Scientist’s Club, Robert McCloskey’s Homer Price, and especially Lester Del Rey’s The Runaway Robot… these were the books I devoured again and again as a child. And the ones that most shaped my future reading tastes, now that I look back on it.

I’ve been able to interest all of my kids in at least one or two. And as you might expect, they disagree on which one is the best. The only one to receive universal praise is a thin collection of short stories originally published in 1961: I.G. Edmonds’s The Case of the Marble Monster.

The Case of the Marble Monster collects the tales of the legendary Judge Ooka, the 17th-century Japanese samurai in the service of the Tokugawa shogunate. Even if you’ve never heard of Ōoka Tadasuke, you’ve almost certainly heard of his cases, some of the most famous legal decisions in history. They include “The Case of the Stolen Smell,” in which an obnoxious innkeeper accuses a poor student of stealing the smell of his food, and ”The Case of the Bound Statue,” in which Ooka is asked to uncover the thief of a cartload of cloth, and he orders a statue of Jizo (a stone guardian) to be bound and arrested for dereliction of duty. All three of my children are in agreement that The Case of the Marble Monster is a fabulous book, and I can’t argue with their judgment. The tales have been passed down for hundreds of years, and it’s not hard to see why.

The Case of the Marble Monster was published by Scholastic Books in 1961. It was 45 cents in paperback for a slender 112 pages; you can buy copies on e-Bay for roughly ten times that. It’s well worth it.

Venture, March 1957: A Retro-Review

Venture, March 1957: A Retro-Review

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venture-science-fiction-march-1957-smallAnother magazine from 1957, at the cusp of the Space Age, though this one appeared several months before Sputnik. Venture was a companion magazine to F&SF, intended to focus on pure Science Fiction. Ten bi-monthly issues appeared beginning in January 1957. It was revived in 1969, and six quarterly issues appeared from May 1969 through August 1970. I’ve always thought it a shame they couldn’t (it would seem) make a go of it, though I must say I’d never read a copy until now.

The look and feel of the magazine is similar to F&SF: 132 pages (including the covers), same font and column layout. Unlike F&SF, there are interior illustrations (by John Giunta). There are no features except for a sort of editorial (called “Venturings”) on the inside front cover.

The cover illustration, for Leigh Brackett’s “The Queer Ones”, is by Dick Shelton and it’s a bit odd: in two colors (red and olive green, plus black and white), showing a woman shooting a sort of raygun. It does accurately (if in a slightly symbolic way) depict a scene from the story.

As I said, no features, so let’s get right to the fiction. The stories are:

“Too Soon to Die” by Tom Godwin (15,100 words)
“The Lady was a Tramp” by Rose Sharon (6,700 words)
“Friend for Life” by Gordon R. Dickson (5,200 words)
“The Queer Ones” by Leigh Brackett (14,000 words)
“Blind Alley” by Charles L. Fontenay (2,600 words)
“Vengeance for Nikolai” by Walter M. Miller, Jr. (7,700 words)

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Vintage Treasures: Alfred Hitchcock’s Monster Museum

Vintage Treasures: Alfred Hitchcock’s Monster Museum

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alfred-hitchcocks-monster-museum-smallLast month, my son came home from school and began poking through our library. “I have to read a short story collection for Lit block,” he explained.

I think “Lit block” maybe means English class. I’m not going to ask, I already get enough grief for not understanding what kids today are talking about. After a few minutes, Drew gave up. “I’ll check the school library tomorrow,” he said. Please. This is what eBay is for. And sure enough, after a short search, I found a collection he found suitably intriguing. With story titles like “Slime” and “Shadow, Shadow, on the Wall,” how could he not? There was a copy in great shape for just $2.75, and very soon it was ours.

Of course, I ended up being even more interested than Drew. Alfred Hitchcock’s Monster Museum was one of roughly a dozen anthologies published under Hitchcock’s name and ghost-edited by Robert Arthur, including 12 Stories for Late at Night, Scream Along with Me, and Stories That Scared Even Me. This one contains a terrific mix of pulp fiction from 1929 – 1954, from Murray Leinster (Will F Jenkins), Manly Wade Wellman, Theodore Sturgeon, and many others. Here’s the complete TOC:

A Variety of Monsters — Introduction by Alfred Hitchcock
“Slime” — Joseph Payne Brennan (Weird Tales, March 1953)
“The King of the Cats” — Stephen Vincent Benét (Harper’s Bazaar, Feb 1929)
“The Man Who Sold Rope to the Gnoles” — Idris Seabright (F&SF, Oct 1951)
“Henry Martindale, Great Dane” — Miriam Allen deFord (Beyond Fantasy Fiction, Mar 1954)
“Shadow, Shadow, on the Wall” — Theodore Sturgeon (Imagination, Feb 1951)
“Doomsday Deferred” — Will F. Jenkins (The Saturday Evening Post, Sep 24 1949)
“The Young One” — Jerome Bixby (Fantastic, Apr 1954)
“The Desrick on Yandro” — Manly Wade Wellman (F&SF, Jun 1952)
“The Wheelbarrow Boy” — Richard Parker (Lilliput, Oct 1950)
“Homecoming” — Ray Bradbury (Mademoiselle, Oct 1946)

The paperback is abridged from the original 1965 hardcover, which also included “The Day of the Dragon” by Guy Endore, “The Microscopic Giants” by Paul Ernst, and Jerome Bixby’s “The Young One.” I prefer the trade paperback however, mostly because of the gorgeous and moody cover (click on the image at right for a bigger version).

Alfred Hitchcock’s Monster Museum was published by Random House in trade paperback in 1982; the original cover price was $2.50 for 213 pages.

Vintage Treasures: The Power of Darkness — Tales of Terror, by Edith Nesbit

Vintage Treasures: The Power of Darkness — Tales of Terror, by Edith Nesbit

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the-power-of-darknessYes, we’re talking here about Edith Nesbit, godmother of British fantasy and beloved author of The Enchanted Castle, Five Children and It, The Phoenix and the Carpet, and many others children’s classics. This is not some other Edith Nesbit. Right there on the back of my copy of the Wordsworth Edition paperback of The Power of Darkness — Tales of Terror are the words:

Edith Nesbit, best known as the author of The Railway Children and other children’s classics, was also the mistress of the ghost story and tales of terror.

Who knew? Not me. I thought it was scandalous when JK Rowling wrote a book with sex in it, but that’s nothing compared to the head-twisting British schoolkids must have received opening their copy of The Power of Darkness — Tales of Terror.

And what’s with the two titles? It’s like she couldn’t decide what to call it. “The Power of Darkness or Tales of Terror? Bloody Hell, I’ll call it both.” You tell ’em, Edith!

As an unanticipated side-effect of my gross ignorance of early 20th Century supernatural short fiction, I am surprised and delighted by this addition to the Wordsworth Tales of Mystery And The Supernatural imprint (or, as we like to call it, TOMAToS). But the rest of the line has been extremely impressive, so I’m willing to believe they’re not just pulling my leg with this one. Here’s the rest of the back cover copy, just to prove I’m not making this up:

‘The figure of my wife came in… it came straight towards the bed… its wide eyes were open and looked at me with love unspeakable.’

Edith Nesbit was able to create genuinely chilling narratives in which the returning dead feature strongly. Sadly, these stories have been neglected for many years, but now, at last, they are back in print. In this wonderful collection of eerie, flesh-creeping yarns, we encounter love that transcends the grave, reanimated corpses, vampiric vines, vengeful ghosts and other dark delights to make you feel fearful. These vintage spooky stories, tinged with horror, are told in a bold, forthright manner that makes them seem as fresh and unsettling as today’s headlines.

Vampiric vines! I’m putting this one right at the top of my to-be-read pile.

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Dorian Hawkmoon: The History of the Runestaff and The Chronicles of Castle Brass

Dorian Hawkmoon: The History of the Runestaff and The Chronicles of Castle Brass

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The Jewel in the SkullA little while ago, Fearless Leader John O’Neill posted here about Tor reprints of Michael Moorcock’s first four Dorian Hawkmoon books being remaindered (you can still get them at Amazon). It had been years since I’d read that original Hawkmoon series, and I’d never read the second series of three books that followed, despite having them sitting on my bookshelves. So in the wake of John’s post, I thought it was well worth taking another look at Hawkmoon’s adventures. I vaguely remembered enjoying the first series; would it hold up?

That first series, The History of the Runestaff, dates from the late sixties. The Jewel in the Skull was published in 1967, The Mad God’s Amulet (originally published as Sorcerer’s Amulet) and The Sword of the Dawn both came out in 1968, and The Runestaff (originally The Secret of the Runestaff) was published in 1969. A few years later, Moorcock wrote another three books following the adventures of Dorian Hawkmoon, Duke of Köln, The Chronicles of Castle Brass; these books tied Hawkmoon more closely to Moorcock’s mythos of the multiverse and the Eternal Champion — concepts tying together all Moorcock’s fiction writing. 1973’s Count Brass and The Champion of Garathorm were followed in 1975 by The Quest For Tanelorn, presenting a possible ending for the overall saga of the Champion.

In a post at Tor.com, Moorcock recalled writing the first series:

My old method of writing fantasy novels was to go to bed for a few days, getting up only to take the kids to school and pick them up, while the book germinated, making a few notes, then I’d jump out of bed and start, writing around 15-20,000 words a day (I was a superfast typist) for three days, rarely for more than normal working hours — say 9 to 6 — get my friend Jim Cawthorn to read the manuscript for any errors of typing or spelling etc. then send it straight to the editor unread by me. I have still to read more than a few pages of the Hawkmoon books.

He’s also said that

It took me three days to write the Hawkmoon books. I used to say that I COULD do the job in two days, but it needed a third day for that extra polish… I used to spend a few days in bed thinking over the story, get up to write it, then go back to bed for another day or so. It was to do with best use of energy.

And:

I doubt if I would have written them had it not been for the fact that I’d burned out on doing comics for Fleetway and wanted fiction which was owned by me rather than owned outright by the publisher. Economically I could earn in three days what those books made me ($1000 a book) from Lancer so I gave myself three days to do them in.

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Vintage Treasures: Al Williamson Adventures

Vintage Treasures: Al Williamson Adventures

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al-williamson-adventures-smallAl Williamson is one of my all-time favorite comic artists. His meticulously-detailed alien landscapes, boundless imagination and kinetic style combined to make him the perfect artist for SF adventure comics.

He started working for E.C. Comics in 1952, illustrating stories by Harlan Ellison, Ray Bradbury, and others, in titles including Valor, Weird Science, Weird Fantasy, and Incredible Science Fiction. I remember him chiefly for his later work, especially his famed Star Wars comic adaptations, and his 80’s art in Alien Worlds and Marvel’s Epic Illustrated. He passed away in 2010 (see the BG obit here).

Fortunately, you don’t have to hunt through expensive old comics to see his very best work. Over the years, a number of excellent retrospectives have appeared, including The Art of Al Williamson (1983), Al Williamson: Hidden Lands (2004), The Al Williamson Reader (2008), Al Williamson’s Flash Gordon (2009), and Al Williamson Archives (2010). One of my favorites is Al Williamson Adventures, a beautifully-produced collection of seven stories spanning his entire career, written by some of the best writers in the business:

“Along the Scenic Route” — Harlan Ellison
“Cliff Hanger” — Bruce Jones
“Relic” — Archie Goodwin
“The Few and the Far” — Bruce Jones
“One Last Job” — Mark Schultz
“Out of Phase” — Archie Goodwin
“Tracker” — Mark Wheatley

Al Williamson Adventures was published by Insight Studios Group in September, 2003. It is 96 pages in oversize hardcover, with an 8-page color section.

Infinity, January 1958: A Retro-Review

Infinity, January 1958: A Retro-Review

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infinity-january-1958-smallThis is the fifth installment in Rich Horton’s retro-reviews of science fiction and fantasy digest magazines from the mid-20th Century. The first four were the February 1966 Analog, the December 1965 Galaxy, the January 1966 issue of The Magazine of Fantasy & Science Fiction, and If, October 1957.

Click the images for larger versions.

The last magazine I reviewed came from October 1957, the month Sputnik was launched. This one is dated January 1958, and presumably appeared on stands a month or so after Sputnik, but was editorially complete just prior to the launch. And I’ve got another October 1957 issue coming.

So — these are, I would argue, three examples of SF magazines on the very cusp of the Space Age.

Infinity lasted from the end of 1955 through 1958, a total of 20 issues. It was published irregularly but roughly bimonthly. The editor throughout was Larry Shaw, and his work was justly very well regarded. The most famous story he published was Arthur C. Clarke’s “The Star” in the very first issue.

Shaw also edited the companion magazine, Science Fiction Adventures, which became the John Carnell-edited UK magazine by the same name (Carnell’s magazine started as a reprint edition of the US magazine, but continued with original stories after the US version folded). An earlier US magazine of that name was edited by Lester Del Rey pseudonymously, and the title was used again later for one of Sol Cohen’s horrid reprint magazines.

This issue had a cover by Ed Emshwiller, illustrating Richard Wilson’s serial “And Then the Town Took Off”, and interior illustrations by Emsh, Bill Bowman, Richard Kluga, and John Schoenherr. The only ads are the ubiquitous SFBC on the back cover (inside and out), and on the inside front cover an inhouse ad urging the reader to subscribe to Infinity and Science Fiction Adventures.

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