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Category: Vintage Treasures

The Golden Age of Science Fiction: The 1973 Nebula Award for Best Novella: “A Meeting With Medusa” by Arthur C. Clarke

The Golden Age of Science Fiction: The 1973 Nebula Award for Best Novella: “A Meeting With Medusa” by Arthur C. Clarke

A Meeting with Medusa Tor Double-small

Tor Double #1, October 1988. Cover by Vincent Di Fate

Arthur C. Clarke, of course, was a towering figure in SF circles – when I began reading SF, there was an indisputable “Big Three”: Isaac Asimov, Robert A. Heinlein, and Clarke. And, indeed, that’s how I saw things at that age. Curiously, Heinlein was not really central to my earliest reading, and I didn’t read the bulk of his juveniles until a couple of decades later (though I had read his adult work in my teens.) But Clarke and Asimov were among the “adult” SF writers I first discovered, and I was reading novels like Against the Fall of Night when I was 12.

Clarke was born in 1917. He began publishing SF in 1946 with “Rescue Party” (a story that still gives me a thrill.) He made his mark in SF in the next decade or so with many further fine stories and with novels like The City and the Stars and Childhood’s End. He made his mark in the wider world when the movie 2001 appeared in 1968 – Clarke had written the original story (“The Sentinel”) upon which it was based, and he also worked with Kubrick on developing the story for the movie, and wrote the “novelization.” He had moved to Sri Lanka in 1956, partly because of his interest in scuba diving, but also possibly because he was gay, and homosexual activity was still illegal in England. He was knighted in 1998, at which time disturbing stories accusing him of pedophilia surfaced. He was cleared by the Sri Lankan police, and died a decade later.

“A Meeting with Medusa” first appeared in Playboy in December 1971. (I’m not sure why it was still eligible for the Nebula ballot in 1973 – this was before the “rolling eligibility” period of the Nebulas.) I’d have reproduced a cover image of its first place of publication, but Black Gate is a family website, as so well evidenced by the Margaret Brundage paintings we sometimes feature! I should also mention that this was a period when Playboy published a fair amount of excellent SF — for example, Ursula K. Le Guin’s “Nine Lives”, just a couple of years earlier.

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The Golden Age of Science Fiction: Harpist in the Wind, by Patricia A. McKillip

The Golden Age of Science Fiction: Harpist in the Wind, by Patricia A. McKillip

Cover by MIchael Mariano
Cover by MIchael Mariano

Cover by Darrell K. Sweet
Cover by Darrell K. Sweet

Cover by Jack Woolhiser
Cover by Jack Woolhiser

The Locus Awards were established in 1972 and presented by Locus Magazine based on a poll of its readers. In more recent years, the poll has been opened up to on-line readers, although subscribers’ votes have been given extra weight. At various times the award has been presented at Westercon and, more recently, at a weekend sponsored by Locus at the Science Fiction Museum (now MoPop) in Seattle. The Best Fantasy Novel Award dates back to 1978, when it was won by J.R.R. Tolkien’s The Silmarillion. The award was not presented in 1979, and when it was reinstituted in 1980, this time permanently, Patricia A. McKillip won the award for Harpist in the Wind. In 1980. The Locus Poll received 854 responses.

The 1980 award season seems to have been a good year for final books in trilogies. Just as Dragondrums, the final volume of Anne MCCaffrey’s Harper Hall trilogy received the coveted Balrog Award, the final volume of Patricia A. McKillip’s Riddle-Master trilogy, Harpist in the Wind, won the Locus Poll for Best Fantasy Novel. Apparently, it was also the award season for musically-oriented fantasy novels. One of the biggest differences between Dragondrums and Harpist in the Wind is also what makes McCaffrey’s novel easier to read on its own.

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Tor.com on Abandoned Earths and Inhospitable Planets

Tor.com on Abandoned Earths and Inhospitable Planets

Worlds Apart Joe Haldeman-small Venus of Dreams-small Vacuum Flowers UK-small The-Exile-Waiting-small
Worlds Apart Joe Haldeman-back-small Venus of Dreams-back-small Vacuum Flowers UK-back-small The-Exile-Waiting-back-small

Everyone knows that Top Ten lists are irresistable clickbait for bibliophiles. That’s why there are so damned many. Top Ten Science Fiction novels of the 80s. Top 50 Fantasy Novels of All Time. Top 100 Hobbits in Science Fiction, Yo. Don’t lie to me, you know you love ’em.

Anyway, over the last few years book sites have gotten a little more clever, spicing up run-of-the-mill Top Ten lists with more interesting themes. A couple of my recent favorites both appeared at Tor.com: James Davis Nicoll’s SF Stories Featuring Abandoned Earths, and Kelly Jensen’s Five Inhospitable Planets from Science Fiction. Both feature topics near-and-dear to my old school heart and, even better, they showcase classic books from Ursula K. Le Guin, Vonda McIntyre, Poul Anderson, Michael Swanwick, Arthur C. Clarke, Joe Haldeman, Mel Odom, and Kim Stanley Robinson, and more, with nods to films like The Chronicles of Riddick and Interstellar.

Really, these things are just excuses to write about books we love, and what’s wrong with that? Nuthin’, that’s what’s wrong with that. This is what the internet is for, people.

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The Golden Age of Science Fiction: The 1973 Hugo Award for Best Editor: Ben Bova

The Golden Age of Science Fiction: The 1973 Hugo Award for Best Editor: Ben Bova

Analog Science Fiction March 1972-small Analog Science Fiction June 1972-small Analog Science Fiction December 1972-small

The 1973 Hugo Award for Best Editor went to Ben Bova. This was the first year of the Best Editor Hugo. It has been awarded every year since then, though in 2007 it was split in two, with a Best Editor Award given for Short Form and Long Form editors. This last reflected the fact that the Best Editor was a de facto award for Best Editor Short Form all along. (While I completely agree that “Long Form” editors are tremendously important to the field, and deserve recognition, I still think that the Hugo voters – even people, like me, who are pretty well connected – are not really competent to evaluate Long Form editing.) The original impetus, I believe, for the Best Editor Award was as a replacement for the Best Professional Magazine award, and the idea was that the increased importance of original anthologies to the short fiction market meant that just awarding a “Best Prozine” award would miss some really important editors. In the event, however, the only two Best Editor awards not linked to magazines were Terry Carr in 1985 and 1987, and Judy-Lynn Del Rey in 1986 (award refused by her widower, Lester Del Rey.) Indeed, the only winner of the Best Professional Editor Short Form Hugo who is not primarily associated with a magazine has been Ellen Datlow (whose win in 2005 of the Best Professional Editor Award can be partly attributed to her role editing Sci Fiction, but whose later Hugos presumably result from her original anthologies and her editing of the Best Fantasy and Horror (now just Best Horror) collections).

Bova’s fellow nominees in 1973 were two additional magazine editors, Edward Ferman at F&SF and Ted White at Amazing/Fantastic. (Bova, of course, was the editor of Analog.) Terry Carr was nominated, presumably for the original anthology series Universe and for his Best Science Fiction of the Year series. And Donald Wollheim was nominated, probably for his role as chief acquiring editor at DAW, and for editing The 1972 Annual World’s Best SF. Conspicuous by his absence is Ejler Jakobsson, editor of Galaxy and If.

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Future Treasures: Decades: Marvel in the 70s – Legion of Monsters

Future Treasures: Decades: Marvel in the 70s – Legion of Monsters

Marvel Decades Legion of Monsters-smallIf there’s a company out there that knows how to use nostalgia to shake dollars out of me, it’s Marvel. I’ve already shelled out for their deluxe hardcover Omnibus volumes, the black & white Essentials line, and more recently I’ve spent a fortune on their Epic Collections, which assemble 18 issues apiece of early core titles like Thor, Spider-Man, Avengers and Fantastic Four. Recently they’ve launched a Decades series that looks at some of the more offbeat comics from Marvel’s long history and, heaven help me, I’m reaching for my wallet again. In this case it’s for a nearly forgotten team book from the 70s which has never let go of my imagination.

Celebrate 80 years of Marvel Comics, decade by decade — together with the groovy ghoulies of the Supernatural Seventies! It was an era of black-and-white magazines filled with macabre monsters, and unsettling new titles starring horror-themed “heroes”! Now, thrill to Marvel’s greatest horror icons: The melancholy muck-monster known as the Man-Thing — whosoever knows fear burns at his touch! Morbius, the Living Vampire! Jack Russell, cursed to be a Werewolf-by-Night! And the flame-skulled spirit of vengeance, the Ghost Rider! But what happens when they are forced together to become… the Legion of Monsters? Plus stories starring Dracula, Frankenstein’s Monster, Manphibian, the vampire-hunter Blade… and never-before-reprinted tales of terror!

COLLECTING: LEGION OF MONSTERS (1975) 1; MARVEL PREVIEW 8; MARVEL PREMIERE 28; MARVEL SPOTLIGHT (1971) 2, 5; FRANKENSTEIN (1973) 1; TOMB OF DRACULA (1972) 10; MATERIAL FROM SAVAGE TALES (1971) 1

Previous titles in the Decades series include Marvel in the 60s – Spider-Man Meets the Marvel Universe, collecting 60s Spider-Man stories from Amazing, Avengers, Daredevil, Fantastic Four, and other places; Marvel in the 50s – Captain America Strikes! which gathers material from Young Men, Captain America (1954), Men’s Adventures, and other mags; Marvel in the 80s – Awesome Evolutions, which collects some of the bizarre makeovers of the 80s, including Spider-Man’s black costume, Storm’s mohawk, Thor’s battle armor and the Hulk’s return to gray.

Decades: Marvel in the 70s – Legion of Monsters will be published by Marvel on April 23, 2019. It is 248 pages, priced at $24.99 in print and $16.99 in digital formats.

Shipwrecks, Labyrinths, and Sentient Islands: The Nightmare and Other Tales of Dark Fantasy by Francis Stevens

Shipwrecks, Labyrinths, and Sentient Islands: The Nightmare and Other Tales of Dark Fantasy by Francis Stevens

The Nightmare and Other Tales of Dark Fantasy-small The Nightmare and Other Tales of Dark Fantasy-back-small

The Bison Frontiers of Imagination line has reprinted dozens of books by Edgar Rice Burroughs, Jules Verne, H.G. Wells, Clark Ashton Smith, Philip Wylie, E.E. “Doc” Smith, A. Merritt, Jack London, Ray Cummings, Hugo Gernsback, Robert Silverberg, and many others, in handsome and affordable trade paperback editions. We’ve reviewed several of them here at Black Gate including:

The Circus of Dr. Lao by Charles G. Finney, reviewed by Thomas Parker
Perfect Murders by Horace L. Gold, reviewed by Bill Ward

I’ve been accumulating them for over ten years, starting with the Clark Ashton Smith volumes Lost World and Out of Space and Time, which are among my favorite Smith reprints. But recently I’ve been a little more experimental with my Bison purchases, and so far I haven’t been disappointed. Last week I bought a copy of The Nightmare and Other Tales of Dark Fantasy by Francis Stevens, a pseudonym for Gertrude Barrows Bennett (1883 – 1948), author of The Citadel of Fear and The Heads of Cerberus. Her work appeared in many horror anthologies I’ve enjoyed over the years, including Jonathan E. Lewis’s Strange Island Stories (2018), and Sam Moskowitz’s Horrors Unknown (1971) and Under the Moons of Mars (1970). Here’s a snippet from the back cover to demonstrate her range.

In a future where women rule the world, a sentient island becomes murderously jealous of a shipwrecked couple. Dire consequences await a human swept into the dark, magical world of elves. A deadly labyrinth coils around the dark heart of a picturesque landscape garden. Within an Egyptian sarcophagus lies the horrifying price of infidelity. Swirling unseen around us are loathsome creatures giving form to our basest desires and fears…

Sounds like just what I’m in the mood for. The Nightmare and Other Tales of Dark Fantasy was edited and introduced by Gary Hoppenstand, and published by Bison Books on October 1, 2004. It is 404 pages, priced at $21.95. There is no digital edition. The cover is by R.W. Boeche.

Total Pulp Victory: A Report from Windy City Pulp & Paper 2019

Total Pulp Victory: A Report from Windy City Pulp & Paper 2019

Windy CIty Pulp and Paper 2018 paperback treasures-small

A few of the $1 paperbacks I brought home from Windy City

I returned from the 2019 Windy City Pulp and Paperback Show a few hours ago, weary and happy. It was another fabulous convention, and once again it proved to be the undisputed best show in Chicagoland for those who love vintage books and magazines.

This was the 19th annual convention. It was founded in 2001 by Doug Ellis, and I’ve been attending ever since Howard Andrew Jones and John C. Hocking made the long trip to the 7th Windy City way back in 2007. This year I spent most of the show with friends, including BG bloggers Bob Byrne, Rich Horton, and Steven Silver, as well as local booksellers Arin Komins and Rich Warren, who had a booth and a few spare chairs and were kind enough to let us hang out. There was lots of great food and terrific conversation, and we toasted absent friends, including Howard Andrew Jones, Jason M. Waltz, Barbara Barrett, and especially bookseller and all-around great soul Dave Willoughby, who passed away last year. Dave personified the friendly and welcoming nature of Windy City better than anyone else, I think, and he was profoundly missed.

I made numerous great purchases at the show, including an assortment of Arkham House hardcovers from Doug, some marvelous books from the Glenn Lord estate (purchased from his widow, Lou Ann), a couple of recent Dark Adventure Radio Theater releases from Greg Ketter, a box of vintage SF digests in great condition — and some really wonderful treasures at the auction, including a copy of the 1990 Donald Grant illustrated edition of Lovecraft’s At The Mountains of Madness, several stacks of pulps, and an absolutely magnificent set of 1927 Weird Tales, bound in two volumes.

But as usual, most of what I took home with me was paperbacks. Lots of paperbacks. I found a few that I was willing to pay a premium for, including some Clark Ashton Smith collections and horror anthologies, but the vast majority of them — well over 200 in total — were less than $1 each, including all those I spread out on my kitchen floor to photograph when I got home (see above).

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Tomorrow Isn’t Always Another Day: Remembering Howard Fast’s The Edge of Tomorrow

Tomorrow Isn’t Always Another Day: Remembering Howard Fast’s The Edge of Tomorrow

Howard Fast The Edge of Tomorrow-small Howard Fast The Edge of Tomorrow-back-small

The Edge of Tomorrow (Bantam, 1966) Cover artist uncredited

Books, like music, can evoke images of another time and place. When I picked up The Edge of Tomorrow recently, it triggered memories of Manhattan, Kansas, just before my husband left for Vietnam. It was mid-June 1966 when I drove from California to Fort Riley.

Manhattan was a whole new world. I remember heat and humidity so heavy it was like walking around on the bottom of a warm fish bowl. But there were awesome times too — a Harry Belafonte concert, thunder so loud I thought it would flatten me, and staring out a window all night during a tornado watch.

Yet, my most vivid memories are about food and friends. It was still early days for the anti-war protests and we were not aware of them. Uppermost in our minds was knowing our husbands or fathers or sons or brothers would be going to Vietnam. With so much uncertainty in our lives, we made the best of the moments we had and meals were about the only time life seemed normal.

The troops at Fort Riley trained twelve to fourteen hours a day. That left evenings and some weekends for relaxation. When Bob was home, his Army friends often stopped by for a beer and a chat. Many times, they stayed for a home-cooked dinner. During the five months in Kansas, I prepared a lot of food. Mostly from family recipes. So did other wives. We tasted dishes we had only heard about and exchanged recipes. One of my favorite memories centers around a feast those of us from California put together. We craved Mexican food but tortillas, pinto beans and hot sauce weren’t available in the local stores then. That problem was solved when we wrote and asked our families to send supplies. They were generous beyond belief. All our friends were invited. For a few hours, while we were eating tacos, enchiladas, refried beans, rice, burritos, guacamole and hot sauce, we were home.

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The Golden Age of Science Fiction: The 1973 Hugo Award for Best Fan Writer: Terry Carr

The Golden Age of Science Fiction: The 1973 Hugo Award for Best Fan Writer: Terry Carr

Fandom Harvest

Steven Silver has been doing a series covering the award winners from his age 12 year, and Steven has credited me for (indirectly) suggesting this, when I quoted Peter Graham’s statement “The Golden Age of Science Fiction” is 12, in the “comment section” to the entry on 1973 in Jo Walton’s wonderful book An Informal History of the Hugos. You see, I was 12 in 1972, so the awards for 1973 were the awards for my personal Golden Age. And Steven suggested that much as he is covering awards for 1980, I might cover awards for 1973 here in Black Gate.

The 1973 Hugo Award for Best Fan Writer went to Terry Carr. Terry Carr (1937-1987) won four Hugos overall – in 1959 he won for Best Amateur Magazine for Fanac (along with his co-editor Ron Ellik), and in 1985 and 1987 he won for Best Professional Editor. (Alas, he died early in 1987, so did not get to receive that award. Famously, this was the second consecutive year that the award was given posthumously – though in 1986 Lester Del Rey bitterly refused the award to his wife Judy-Lynn. (There could be a third posthumous Best Editor award this year, as Gardner Dozois is one of the nominees for Best Editor, Short Form.) Like the great majority of Fan Writer winners, Terry Carr was also an accomplished professional writer, probably best known for his stories “Hop-Friend” and “The Dance of the Changer and the Three” and for his novel Cirque.

Carr wrote some fine fiction, as noted, and also spent some time as an agent, and he was a prolific and wonderful fan writer and fanzine editor. But his largest contribution to the field was as an editor. He worked at Ace through most of the 1960s. There he co-edited the World’s Best Science Fiction series with Donald A. Wollheim, and he spearheaded the classic first Ace Science Fiction Special series. After leaving Ace he became a freelance editor, most famous for his Best Science Fiction of the Year series for Ballantine/Del Rey, and for his Universe series of original anthologies. He also edited the third series of Ace Specials.

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The Golden Age of Science Fiction: Jem, by Frederik Pohl

The Golden Age of Science Fiction: Jem, by Frederik Pohl

Cover by Irving Freeman
Cover by Irving Freeman

The National Book Awards were established in 1936 by the American Booksellers Association. Although the Awards were not given out between 1942 and 1949 because of World War II and its aftermath, the awards were reestablished in 1950 and given out annually since then. Since 1950, only US authors are eligible for the award, which is designed to celebrate the best of American literature, expand its audience, and enhance the value of good writing in America. From 1980 through 1983, the American Book Awards were announced as a variation of the National Book Awards, run by the Academy of the American Book Awards.

While the National Book Awards were selected by a jury of writers, the TABA program relied on entry fees, committees, and voters made up of groups of publishers, booksellers, librarians, and authors and critics. The change was controversial and a group of authors including Nelson Algren, Saul Bellow, Bernard Malamud, Joyce Carol Oates, Philip Roth, and Susan Sontag, among others, called for a boycott of the award.

The American Book Award included genre categories, presenting awards for mysteries, science fiction, and westerns. Two awards were presented in the science fiction category, one for hardcover, one for paperback. The genre awards were abandoned after a single year. The only winner of the National Book Award for Hardcover Science Fiction was Frederik Pohl’s Jem. The Awards were presented in New York on May 1, 1980 at a ceremony hosted by William F. Buckley and John Chancellor. Isaac Asimov presented the science fiction awards.

I tend to find a lot of Pohl’s novels depressing, even while acknowledging he can write biting satire. His satire tends to be the darkest of humor, and Jem is certainly dark. It opens at a scientific conference held in Bulgaria in the near future, sometime after 2024. Earth has been divided into three massive alliances which are based on the products of the countries involved, The People countries that provide labor, the Oil countries that provide power, and the Food countries. Pohl introduces four individuals at the conference, Ana Dimitrova, a translator from the food bloc, her lover, Abdul Dulla, a scientist from the people countries, Danny Dalehouse, a scientist from the food countries, and Marge Menninger, a soldier from the food countries.

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