Black Gate

John W. Campbell died in July 1971. He had been editor of Astounding/Analog for 34 years. His name appeared on the masthead through December of that year, along with remaining editorials. Presumably Kay Tarrant did the work necessary to keep the magazine going, possibly, some suggest, even buying new stories, until the new editor was chosen. Ben Bova took over officially with the January 1972 issues. (Rumor has it that Charles Platt, of all people, was one of those considered for the job; a more obvious possibility was Frederik Pohl, who said he was asked to apply. [He had left Galaxy at about this time, and was as I recall editing books for Bantam.])

So I thought I’d consider an issue from the end of Campbell’s tenure, and one from the beginning of Bova’s: November 1971 and October 1972.

The November 1971 issue has a cover by John Schoenherr. Interiors are by Schoenherr, Kelly Freas, and Leo Summers. Campbell’s editorial, his second-last, was called “The Gored Ox,” in which he inveighs against the press’s desire to print anything they want (inspired by the Pentagon papers). The Science article is by Margaret Silbar, who contributed 16 pieces of non-fiction to Analog between 1967 and 1990. It’s called “In Quest of a Humanlike Robot.”

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The cover of this issue gives Robert Silverberg’s byline as “Bob Silverberg,” though the Table of Contents shows “Robert Silverberg.” Bob Silverberg seems to have been given as his byline on a few stories (including his first publication), as well as some letters.

The cover is by Albert Nuetzell, showing a spaceship and some people investigating an archaeological site, presumably on another planet, complete with strange writing and an enormous stone humanoid head (click on the image at left for a bigger version). It doesn’t go with any of the stories in the magazine. Interior illustrations are by Mel Varga and by Virgil Finlay.

Norman Lobsenz’ very brief editorial is about Project Ozma, Frank Drake’s pioneering attempt to detect signals from intelligent extraterrestrials using radio. S. E. Cotts’ brief book review column, The Spectroscope, covers Benjamin Appel’s The Funhouse, Murray Leinster’s The Pirates of Zan, and Adam Lukens’ The Sea People.

The letters in “Or So You Say …” come from Jacqueline Brice, Jess Nash, Bob Adolfsen, Paul H. Taylor, Frank H. Terrell, and Dr. Raymond Wallace, none of those names familiar to me. The biggest common theme is praise for Alan Nourse’s novel Star Surgeon.

The stories are:

Novel:

Seven from the Stars, by Marion Zimmer Bradley (42,800 words)

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A bit of a change of pace here, a late ’60s issue of Galaxy. Frederik Pohl was the editor. It is billed as the “Seventeenth Anniversary Issue, and the conceit is that the contributors are all celebrating an anniversary in the field. For example, Pohl himself published a poem in an SF magazine in 1937, making this his 30^th anniversary. George O. Smith’s first story was published in 1942, so his 25^th anniversary. H. L. Gold is here as the founding editor. Fair enough. The contributor that puzzles me is Roger Zelazny. The cover says “representing his 17^th anniversary, but never explains that. This was the fifth anniversary of his first published story. Does it mean he started reading SF in 1950? I don’t know – it’s not explained at all.

The cover is by Gray Morrow, illustrating Gold’s story accurately enough. Interiors are by Gaughan, Morrow, and R. Dorfman (his or her only appearance, according to the ISFDB, in SF). Willy Ley contributes a science essay in his “For Your Information” series, which ran from 1952 through 1969. This one, “The Worst of all the Comets,” is about the great comet of 1680, which has a 574 year period, and which one writer speculated was the comet that caused the Biblical Flood (by raining water on the Earth when it passed very close). Pohl’s brief editorial is about the changes since his poem was published, in 1937.

Algis Budrys’ Galaxy Bookshelf covers Damon Knight’s anthology Worlds to Come (he objects that too many of the stories aren’t really SF), a reissue of Fritz Leiber’s The Big Time (which, Budrys reminds us, is really a play), Robert A. Heinlein’s landmark collection The Past Through Tomorrow (his big Future History collection, which Budrys praises highly), and, most significantly, Samuel R. Delany’s The Einstein Intersection. In the Thomas Disch piece just reprinted in Stories for Chip Disch writes of Delany telling him happily that Budrys had declared him (Delany) the best SF writer in the world. I don’t know if this is the review that prompted Delany’s happiness (apparently it was his review of Nova), but it would certainly make one happy. One quote: “The man simply operates on a plane that Robert Heinlein never dreamed of.”

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