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Bill Crider, and some of his work and play, including some short stories: the FFB Crider Celebration Week

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The Next Edition Quartet: Bill Crider, Ed Looby, Gary Logsdon and Richard Wolfe: "The Lion Sleeps Tonight"


Bill Crider: How I Became a Mystery Fan

Karin Montin: Meeting Bill Crider

Victoria Kemp on Bill Crider

Richard Lupoff on Bill Crider

Richard Moore on longtime fellow-fandom and Bill's Truman Smith novels

James T. Cameron: We'll Always Have Murder: A Humphrey Bogart Mystery by Bill Crider

Curtis Evans: Romanced to Death by Bill Crider

Todd Mason:
I first "met" Bill Crider virtually, via the discussion groups on the web or which used email to distribute posts to the correspondents (or, eventually, both)...someone, I've managed to forget whom, was running a western-fiction discussion forum, Read the West, on the web, which rather suddenly shut down...but not before I became aware of discussion groups such as WesternPulps, conducted by James Reasoner, and Rara-Avis, conducted by William Denton. Though old friends and fellow crime-fiction fans and/or DAPA-EM contributors such as James and Richard Robinson contributed to the R-A list earlier, Bill's first post I can find on Rara-Avis is this:

Bill Crider [at his Alvin Community College address]
Sat, 26 Sep 1998 08:58:53 -0500


I've been lurking on this list for quite a while now, and I know there's some interest in the books of Robert Skinner. I thought the first two books (BLOOD RED, SKIN DEEP and CAT-EYED TROUBLE) were excellent. I was eagerly looking forward to the third book in the series. But now I may never see it. Kensington had the book set in print, had the cover designed, and even had bound galleys done. But the swine canceled publication! "Not enough advance orders" was the official reason given. If you've ever given thought to boycotting a publisher or writing an irate letter, Kensington is a deserving target.Bill Crider

...Rara-Avis always has encouraged a certain feistiness, as well as a certain likelihood that justice might be called for (and certainly Kensington has had more than a few sins to atone for over the decades). I joined there in the next year, along with FictionMags (where Bill would eventually join us in 2004) and WesternPulps. 

Bill was a consistently gracious and good-humored contributor, as you've probably experienced or very likely read from others if you're reading this when it's posted, on our Friday Books Celebrate Bill day...the late Mario Taboada and I would eventually begin conducting Rara-Avis when Bill Denton wanted to step away, and the flow of discussion there and on WesternPulps has slowed considerably over the years, with occasional flurries of new discussion and no lack of good contributors still subscribing. But, for many of us not excluding Bill most of the discussion started to move onto blogs (and Facebook, though Bill was less engaged there) by the mid 2000s. 

Bill Crider interviewed (via video chat) on Debbi Mack's The Crime Cafe, 2015


Bill was a poet even before a published fiction writer...sometime over the last couple of years, he took down the poetry and life-as-a-runner blogs he had going alongside Bill Crider's Popular Culture Magazine, and I've missed them.  I'm not sure how many of his short stories (a very few, I think) appeared before his first novel, The Coyote Connection (Ace/Charter 1981, with Jack Davis--not the cartoonist, but at the time a carpoolmate) a collaborative entry in the revived Nick Carter series (which had the venerable detective recast as a Men's Adventure Series spy or "Killmaster"). But I thought I'd cast around for a few of his stories for this week's FFB in books I've been meaning to write up for the Friday Books roundelay.

Quite probably the first time I saw Bill's byline was on the story "Wolf Night" in Ed Gorman's anthology, a mix of reprinted and original stories, the latter including Bill's, Westeryear (M. Evans, 1988). I picked up a library discard copy of the large print edition sometime around 1993-4,  Bill gets to have some fun with this historical western, touching on his love of  B and modestly-budgeted A western films, and horror films from the same era and level of studio support, in this tale of a strange menace attacking the women of a small Texas town in the post-Civil War era...but only on the nights with a full moon...and how the European immigrant schoolteacher in the town knows what might explain this, and what might be needed to stop this slaughter. You're likely to guess at least one of the surprises Bill has planted in this story as it reaches its conclusion, but he is having such fun with this, and sharing that fun, that I doubt you'll be too impatient in your anticipation. 

Rosalind and Martin Harry Greenberg and Charles Waugh's 14 Vicious Valentines (Avon, 1988) was an almost all-original anthology of short stories, and Bill's then new "My Heart Cries for You" is a much more thoroughly grim and noirish affair...there's some humor, including a few jokes that I suspect Bill might not've cracked not too long after he wrote this three decades or so ago, but which can be taken in stride when one considers these characters making the joking references are even more pathetic versions of the kind of "mean furniture" John D. MacDonald, and no few of the other writers Bill admired who were most active in the '50s and '60s, would describe.  The attempt at a long con, between a sort of low-rent Lothario and the woman who disgusts him, and her brother who hopes to have the protagonist bump her off, is well-told and has a very deeply felt sort of cosmic justice built into its climax. You might also detect a hint of Dortmunder or Ron Goulart characters in the attempts our anti-hero makes.

Karen and Joe R. Lansdale's Dark at Heart (Dark Harvest, 1992) feature's Bill's "An Evening Out with Karl", a leaner and even more vicious exploration of some of the same motifs at play in "My Heart Cries for You"; Karl is a predator, looking for tonight's woman Who Is Asking For It, It being a brutal rape if Karl can pull it off. So far, he's been able to avoid capture, and nearly half the too-numerous women he's assaulted haven't even reported the attack to the police, as far as he can tell. Karl prefers to do his hunting in small dance clubs, never visiting any two twice, then usually follows his victim home, breaking in while wearing his ski mask. This night, however...things don't go as planned. The sense of rough justice is also on display here, and some of the jokes in "My Heart..." are turned around in this one, literally as well as figuratively. Probably not a story you'd tell your children before bedtime (as this anthology isn't reaching for that sort of story at all), but if one wondered if Bill was sublimating some of his angrier impulses in some of his fiction, particularly these short stories, it wouldn't seem too wild a surmise. 

Jayme Blaschke interviewed folks at the 2016 ArmadilloCon, to help raise the spirits of Bill, who couldn't attend. A number of these brief statements are at this link, and here's Joe R. Lansdale's contribution:


Others are likely to cite Bill's work as a writer of nonfiction about crime fiction and popular culture, and at least one contributor to this blogpile was hoping to write about Bill's blogging work particularly, which leads me to mention one of his last regular deadline-hitting tasks, along with his contributions to Friday's Forgotten Books, the (real soon now) to be revived and regular Tuesday's Overlooked A/V, and Monthly Underappreciated Music roundelays: his continuation of the "Blog Bytes" column Ed Gorman had started in Ellery Queen's Mystery Magazine...which, we hope, might continue...in the current issue, one of Bill's columns is in place, but one suspects that there're not too many more in inventory at this time. Bill has cited most of the blogs he frequents which have some notable amount of attention to crime fiction, including this one, which got Sweet Freedom one of the biggest spikes in its viewership/readership it's had. And that only one of the smaller services Bill has performed for so many of  his friends and acquaintances, and the readers of his fiction and nonfiction and the fiction he's loved. And only a small token of his kindness toward me, and his willingness (as with James Reasoner, John Grant, Patti Abbott and others) to help out librarians and others trying to find "lost" and poorly-remembered items for their patrons and others...something I engage in through several mailing lists I'm still a member of. 

 Among Bill's "Very Bad Kittens"/VBKs videos...a fairly recent one, of them as young adult cats...


Bill is a wonderful man, and an excellent writer, and now a blasted disease is taking him much as it took his beloved wife Judy not so long ago, and leaving his adult kids and siblings...and Bill's cats, a trio of siblings who've become a very popular feature of Bill's Facebook account, and all his good friends and the rest of us that much less excellent company in this life. We hope, if you haven't read his work before, that this set of remembrances might nudge you along. I've met him face to face only once, at the mildly 9/11-haunted 2001 Bouchercon only a few miles from the Pentagon, but he's been a consistently good man to know, and I wish there was more I could do to make things better for him. He's certainly done a lot for a lot of us.


Bill Crider, Angela Crider Neary and Dana Cameron at the 2017 Bouchercon courtesy EQMM
 Angela Crider Neary on attending the 2017 Toronto Bouchercon with Bill.

Bill Crider on Facebook, 15 December 2017: Overwhelmed by kind thoughts and appreciation of me and my work. Wish I could write more. Can't.

For links to, and hosting some of, this week's reviews, remembrance and more, please see Patti Abbott's blog.

Karin Montin: Meeting Bill Crider

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Meeting Bill Crider
Bill at the 2010 San Francisco Bouchercon

I first heard of Bouchercon, the world’s biggest convention for mystery fans (and authors) through Rara-Avis, an online discussion group devoted to hardboiled and noir writing. Bill Crider was a frequent contributor. I couldn’t miss the 2004 con in Toronto when I live practically next door in Montreal.
A number of us, including Kevin Smith, Marianne Macdonald and Kerry Schooley, attended a face-to-face meet-up organized by Rara-Avis founder Bill Denton. It was a pleasure to meet other members like Brian Thornton, Jim Doherty and Jason Starr at the con, too. 


But it was Bill Crider who made the biggest impression on me. Bill has published over 100 books in several genres, while teaching at a couple of Texas colleges and continuing into retirement. His late wife, Judy, was Bill’s first reader, and he always acknowledged her contribution to his work. Far too few male authors make that a practice. Bill and Judy attended many mystery, western, fantasy and SF book conventions together. I found them to be warm, interesting conversationalists.
 

At other Bouchercons in subsequent years, I crossed paths with Bill and often Judy. I would go to panels where Bill was featured and he was gracious enough to say that he always appreciated seeing familiar faces in the audience. 

Bill collects novels never published in hardcover, mostly mysteries and science fiction. (There are pictures of part of his tremendous collection on the Web.) He generally attended only panels he was on, preferring to browse and schmooze, so he could often be spotted in the booksellers’ room.
 

In Baltimore I ran into him in the book room.
“See anything here you need, Bill?”
“Well, I can’t say that I need any more books, but there’s one over there I’d love – Reform School Girl. It’s a really important paperback original.”
“Why didn’t you snap it up?”
“They’re asking $1,750.”


So there are limits to the madness. Or so I thought at the time. In correspondence Bill later admitted that he wasn’t sure his mania did have a limit.
 

“I keep looking at copies of Reform School Girl with longing. Who knows when I might break down?” 

I wonder if he ever yielded to that temptation.


Unlike many collectors who never even turn the pages of their cellophane-wrapped prizes, Bill is an avid reader. Not only that, he remembers the details, making him an invaluable source of information on pulps and later publications.


In addition to writing books, Bill has always been ready to offer encouragement to aspiring writers. From talking to him, I knew he would be. He’s kept at least two blogs, one on jogging and the other a “Pop Culture Magazine” in which he posts links to humorous and informative articles on a wide variety of topics. It must be said that he has a weakness for certain subjects, like Bigfoot, alligators and crocodiles, “the Thin Mints melee” and related incidents, and for a while, Paris Hilton. 


Several years ago, when Judy was diagnosed with cancer, Bill shared their journey through treatments and relapses up to her death, frankly and unsentimentally, yet lovingly. It was very touching. When he himself became sick, his posts on the subject were far fewer and less detailed, but even his recent announcement that his days are numbered was characteristically frank and unsentimental.

 
I would like to say I’ve read everything he’s written, but I don’t think that will ever be possible. Nonetheless, I have enjoyed every word of the dozen or so books and countless blog and Facebook posts, and generous correspondence I have had the privilege of reading. 


I miss Bill’s daily posts now and will miss him for a long time to come. 


Karin Montin

Karin on Dead to Begin With by Bill Crider

Richard Lupoff on Bill Crider

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I can only recall meeting Bill Crider once--at a Bouchercon--but wish I'd got to know him better. In person he was a pleasant person. "Comfortable" strikes me as the appropriate word. He was courteous and relaxed. We also corresponded, and read each other's books. I'm sure it didn't hurt, but he seemed to like mine, and reviewed them on occasion, in a sensitive and positive manner.

His own books reflected his nature: courteous, thoughtful, intelligent. He seemed to be rather like Tony Hillerman. His heroes were rather like him. His killers, like Tony Hillerman's, were more broken and warped individuals rather than human monsters.


He has always been an ornament and an asset to our community. As long as he is with us he will continue to be a shining light.

Dick Lupoff














Richard Lupoff: "Writing Backwards" at Mystery Fanfare 

Richard Lupoff on Sweet Freedom
Pat and Dick Lupoff back when they were helping to found comics fandom and more recently

Victoria Kemp on Bill Crider

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I've never met Bill Crider. I just read his books and then started following him on Facebook. He posted regularly, both as himself on his personal and on his author page. His author page was a fun amalgam of vintage advertisements; songs of the day; announcements about his writing, including his appearances at various mystery cons around the country, not to mention interviews with all his mystery writing buddies. His personal page was a wonderful glimpse into the life of a man who loved his wife (who died too soon) and his cats, the VBKs, Gilligan, Keanu and Ginger Tom. He wrote prolifically, separate series: Sheriff Dan Rhodes; Truman Smith; Carl Burns and Sally Good, not to mention co-authoring books with Willard Scott and several stand-alone westerns. His writing seemed to me to illustrate who he was as a man, plain-spoken and straight-shooting. 

Cancer sucks. It has taken too many people from my life. And, now, I will lose an author whose writing has taken me places I would never go by myself. 

Fuck cancer.

Victoria Kemp

Friday's Forgotten Books: E PLURIBUS UNICORN by Theodore Sturgeon; NINE HORRORS AND A DREAM by Joseph Payne Brennan; (HORROR STORIES FROM) TALES TO BE TOLD IN THE DARK edited by Basil Davenport

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FFB bonus: 
Robert Bloch, 1979:
Leigh Brackett, J. Francis McComas and Eric Frank Russell in memoriam



"I have always felt that, at his best, nobody wrote better science fiction and fantasy than Ted Sturgeon." Richard Matheson, newly released 1992 interview with Richard Lupoff and Richard Wolinsky












from the Contento index:
E Pluribus Unicorn Theodore Sturgeon 
(Abelard, 1953, $2.75, 276pp, hc; Ballantine, 1956, pb; 
cover by Richard Powers)

· Essay on Sturgeon · Groff Conklin · in
· The Silken-Swift · nv F&SF Nov ’53
· The Professor’s Teddy-Bear · ss Weird Tales Mar ’48
· Bianca’s Hands · ss Argosy (UK) May ’47
· Saucer of Loneliness · ss Galaxy Feb ’53
· The World Well Lost · ss Universe Jun ’53
· It Wasn’t Syzygy [“The Deadly Ratio”] · nv Weird Tales Jan ’48
· The Music · vi *
· Scars · ss Zane Grey’s Western Magazine May ’49
· Fluffy · ss Weird Tales Mar ’47
· The Sex Opposite · nv Fantastic Fll ’52
· Die, Maestro, Die! · nv Dime Detective Magazine May ’49
· Cellmate · ss Weird Tales Jan ’47
· A Way of Thinking · nv Amazing Oct/Nov ’53

This was only the second collection of Sturgeon's work, and the most eclectic one readers would see at least until the the Dell collections published at the turn of the 1980s...given the mix of western, suspense, horror, fantasy and sf, perhaps not until Paul Williams got The Sturgeon Project and its volumes of his complete short stories under way more than a decade after that. And while the first collection and several to appear shortly afterward snagged such notable stories as "It" and "...And My Fear Is Great...", this is as good a core-sampling of Sturgeon's work as one could ask for. "Bianca's Hands" is the story that Unknown's John W. Campbell was so disturbed by that he sought to convince other editors not to publish it; happily, the editors at Argosy's British edition, slightly more sophisticated than even the good US version of the magazine, decided that it deserved to win a contest they were running...with the runner up being Graham Greene. "A Saucer of Loneliness" is barely an sf story at all, with the alien visitation theme added only when Sturgeon couldn't place the story in paying non-sf markets (and it's an excellent story even with that market improvisation in place). "The Professor's Teddy Bear,""Fluffy" and "Cellmate" are expert horror, as is the even more disturbing "A Way of Thinking" (improbably first appearing in theoretically science-fictional Amazing rather than its fantasy/sf companion Fantastic), which, like "Bianca's Hands," had waited several years for a market willing to take it on. "The World Well Lost" was the first story to be published in the sf magazines to argue for acceptance of homosexuality, and it's a credit to editor Bea Mahaffey as well as to Sturgeon that it appeared in her first issue of Universe Science Fiction. "Scars" is an utterly unfantasticated western, with several sorts of tragic turn running right up to its conclusion. "The Silken Swift" is a fine, gentle fantasy (and the source of the book-title's unicorn); "It Wasn't Syzygy" one of the first works tackling the recurring Sturgeon fascination with synergies of personality and greater forces that might thus be generated...his novel More Than Human would be another example, as is this volume's "The Sex Opposite."

(The Pocket Books reprint I was quite happy to purchase in a supermarket in 1984. You never know where Sturgeon's work would turn up...an sf short story in Sports Illustrated, as the only book reviewer, I suspect, to ply that trade in all four of Venture Science FictionNational ReviewGalaxy and Hustler, in that order...etc....)





































from ISFDb:
Nine Horrors and a Dream by Joseph Payne Brennan (Arkham House, 1958; Ballantine 1962); cover by Richard Powers (contents first published in this collection except as noted)

1 • Slime • (1953) • novelette (Weird Tales, March 1953)
33 • Levitation • (1958) • short story
39 • The Calamander Chest • (1954) • short story (Weird Tales, January 1954)
51 • Death in Peru • (1954) • short story (Mystic Magazine, January 1954)
61 • On the Elevator • (1953) • short story (Weird Tales, July 1953)
71 • The Green Parrot • (1952) • short story (Weird Tales, July 1952)
79 • Canavan's Back Yard • [Canavan] • (1958) • short story
95 • I'm Murdering Mr. Massington • short fiction
101 • The Hunt • (1958) • short story
113 • The Mail for Juniper Hill • short fiction

Joseph Payne Brennan was a less fully-realized artist than Sturgeon was, and not as deft nor as careful with his prose (few have been); but nonetheless, Brennan did good work in the field of horror in at least two ways, with the brilliant vignette "Levitation" and such perhaps more-famous stories as "Canavan's Back Yard,""The Calamander Chest" (which Vincent Price would record for a Caedmon LP in the mid '70s) and, most famously, "Slime"...a long story that if it isn't the only parent of the film The Blob, is still the most important one (and rather an improvement on the somewhat cruder similar story in the first issue of Weird Tales from 1923, "Ooze" by Anthony Rud). As one of the last great "discoveries' for the original Weird Tales magazine before it folded in 1954, Brennan's other notable contribution was in publishing the occasional little magazine devoted to horror and related matter, Macabre, in the latter '50s and into the 1970s, by which time several small-press magazines had picked up the torch. As Avram Davidson concluded his positive review of this book in F&SF, "Mr. Brennan is perhaps not M. R. James...but who is?"





































courtesy Vault of Evil:
Tales To Be Told in the Dark, edited by Basil Davenport 
(Dodd, Mead 1953; abridged edition, as Horror Stories from..., Ballantine, 1960; cover by Richard Powers)

William Fryer Harvey - The Beast With Five Fingers
Stephen Hall - By One, By Two, By Three
Saki - Sredni Vashtar
Lord Dunsany - The Two Bottles Of Relish
Margaret Irwin - The Book
John Collier - Thus I Refute Beelzy
[James Thurber - The Whip-Poor-Will--omitted in the Ballantine edition]
Arthur Machen - The White People
Lafcadio Hearn - Mujina
Saki - The Open Window
Basil Davenport - Two Anecdotes
Anon - The Closed Cabinet
Basil Davenport - The Closed Cabinet Retold

Critic and historian E. F. Bleiler is quoted in the capsule review at Vault of Evil: 
"Davenport, recognizing that 'The Closed Cabinet' is cumbersome, badly plotted and barely intelligible, has shortened the narrative greatly and reworked the story. It was not worth the effort."


While Davenport was a literary gadabout in the 1950s and up till his death in 1966, and a friend to fantastic fiction, this anthology is a very mixed bag, indeed, despite the excellent stories by John Collier, Lord Dunsany (his already a relish-drenched chestnut by 1953), Harvey and Saki. The anecdotes are mild jokes, the punchline of one being a rather elderly pun: "I was told to always strike a happy medium.") Davenport's instructional tips on how to tell stories are rather good, better the most of the balance of the fiction here ("Mujina" has been improved upon from Hearn's version, though I'm damned if I can remember whose very similar story I was fortunate enough to read not long after first picking up this book). Apparently, the other Ballantine anthologies attributed to Davenport were ghost-edited, but I suspect this one is so idiosyncratic that only Davenport himself would've chosen the contents, since he also annotates them. An interesting curio, and with the third of a trio of rather good Richard Powers covers, from this age of Powers's work appearing on many Ballantine and Berkley items particularly. 


A redux post from 2013.
For more of this week's books, please see Patti Abbott's blog 

Guest FFB: Barry N. Malzberg on ANATOMY OF A KILLER by Peter Rabe

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Just finished this, one of 16 Rabe novels I ordered from Stark House in fulfillment of an ancient sense of obligation (I had never read a word of Rabe...read his divorced wife Claire [Rabe, initially as by "Anna Winter"]'s Olympia Press novel FLESH AND BLOOD when it was published with mine and five others in 1969 in a series of "the inaugural American Olympia hardcover novels" all of which bombed ferociously...it was quite good). This is one of the craziest, most disjointed, most fascinatingly implosive and explosive novels I have ever read; as I just observed to my patient spouse "When you are turning out books for $2500 advances in two or three weeks because you are trying to make a living you can't go back and get it right, but if he had had that unlikely opportunity this could have been a breakthrough work". Even so, I have never read existential fragmentation and individual psychic breakdown merged the way that Rabe manages in the final 15,000 words. That was my off again, on again shtick and in the fourteenth and final novel of THE LONE WOLF [series published as by "Mike Barry"] I might have gotten close but Rabe was on another planet. It's on a level with the last chapters of LOLITA and Rabe does not for better or worse allow linguistic virtuosity to get in his way.

This guy was (as Carter Scholz wrote of me 35 years ago) synchronously the best and worst writer going, sometimes in the same damned paragraph. A stunning broken talent. And a beacon toward the horrible time in which two thirds of a century later we now exist. 

I feel driven to make this observation public, just for the record.  As you were, ladies and gents.

--BNM, reprinted with permission from Rara-Avis.






cover gallery: E PLURIBUS UNICORN by Theodore Sturgeon

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Richard Powers's painting for the first Ballantine paperback edition, 1956.


































Bill Rose, 1961


































Richard Powers again, Ballantine 1965
Robert Pepper, Ballantine 1970

































Uncredited and uninspired, but OK. 1968































1977 hideous uncredited Pocket 1st edition painting (US & C).


































Boris Vallejo's Pocket 1978 painting/ed.







































Generic, but better. First edition I bought and read, 1984.
First edition, 1953, perhaps the most uninspired of all the covers it's had. A. M. Jauss.

Elegies and Lamentations: Saturday Music Club on Tuesday

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Oscar Brown, Jr. sets Gwendolyn Brooks's "of De Witt Williams on His Way to Lincoln Cemetery" to music: "Elegy"


different songs, same title:
Shelley Fisher: "Big City Lights"


Cleo Randle (aka Cleo Jackson): "Big City Lights"


Cleo Randle: "The Best Man I Ever Had"


Abbey Lincoln: "Retribution"


Abbey Lincoln: "Africa" (mix is bad and the band is taking it too fast, but interesting to see this lovely song in performance on The Hollywood Palace of all places)


Louis Armstrong, Lambert, Hendricks & Ross, Brubeck, Morello and Wright: "They Say I Look Like God"


Carmen McRae, Brubeck, Morello and Wright: "Lord, Lord"


Miriam Makeba: "Quit It"


Gil Scott-Heron Band: "Johannesburg"


Gil Scott-Heron Band: "Lady Day and John Coltrane"



FFB: The Scott, Foresman Invitation to Reading Program edited by Helen Robinson, et al.

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I've written before about the Scott, Foresman reading/literature textbooks that my various schools, public and private, used through my elementary through high school education (1970-1982), in Massachusetts, Connecticut, New Hampshire and Hawaii. (They had the Dick and Jane first-grade franchise in the '60s, and were ubiquitous, obviously, in later grades as well.) I remember the first actively psychotic teacher I had, a second-grade reading teacher who egregiously resented my ability to read before entering her class, growing volubly vexed with me when I wrote in the answers in the blank spaces in the text assuming that was what we were meant to do.) Among the supplementary materials Scott, Foresman offered were editions of various selected children's and YA books that they published in uniform "framed" cover-format as above and below, though in various sizes--the books were more or less in the dimensions of the original editions, and reprinted the original covers, except with no dust jackets and printed-on-the-boards images of those original front covers. I don't have them to hand, but as I recall them they didn't make an attempt to reprint the back covers or flap copy.
The list at the end is the set that was available for browsing and reading in my fifth grade and sixtth grade classroom at Nathan Hale Elementary School in Hazardville, CT. (The examples above might've been pitched to a slightly younger set of readers, with a Jean Craighead George early reader that I've never seen...while I do cleary remember her powerful Newbery Award-winner Julie of the Wolves and My Side of the Mountain. (We had one classroom with one teacher for all but some art classes at that small school at that time, and the same teacher for both fifth and sitxth grades, and nearly the identical population in the classroom. We were also, probably unfortunately but conveniently, divided by our perceived ability as readers, with a half-doze of us on the students' left side of the classroom the sophisticated readers, using as our textbooks Scott, Foresman's Vistas (in fifth grade) and Cavalcades (in sixth)...the intermediate readers, making up most of the class, had another text (title forgotten) and sat in the middle of the classroom; and the ten or so of the struggling readers sat on the right, and used the Open Highways volumes for their grades. Scholastic Book Services and Dell Yearling paperbacks, among some others, were available for the kids to read during "open reading" periods or indoor recess, in shelves at the back of the room...I dipped in more than most, I think, even among the "advanced" readers. 
Among those which mad the strongest impression were Henry Reed’s Journey by Keith Robertson, the first of Keith Robertson's Reed and Midge Glass novels I read and the second in the series (I recall that a chapter from Henry Reed's Baby-Sitting Service had been included in one of textbooks), Harold Courlander's collection of mythlore and folktales from around the world Ride with the Sun, and the handsomely illustrated edition of "The Charge of the Light Brigade"...though I now remember, looking at this list, that I definitely read the Newbery-winning Across Five Aprils and The Twenty-One Balloons from this set, and North to Freedom, the Danny Dunn books (that one doesn't stand out in memory) and Sea Pup Again (interesting the degree to which they didn't feel the need to include the first novels in a given series). Pretty sure I read James Kjelgaard's Stormy, as well, having already read his Big Red and a few others (at least a few of those among the paperbacks on the same shelves)... Kjelgaard having been a prolific writer for adults, in the slick magazines and higher-paying pulps, as well, who died young, after illness...Robert Bloch helped him shape up some of his last work for publication, when he was simply too ill to produce final drafts. 
To what extent did your classrooms have their own collections of books when you were in elementary grades, and did you have any fond memories of those collections...in addition to any libraries your school also maintained? (We had a library at that Enfield, Connecticut school...Hazardville having been absorbed by Enfield some decades before...which was in 1973 already a "media center" instead...the first thing I remember taking out from there was an audiocassette dramatization of Dracula...which my brother, then aged two, gleefully recorded over in part while playing around with the inexpensive cassette player/recorder I had at that time.).

The Scott, Foresman Invitation to Reading Program set we had in my 5th/6th grade classroom:


Adventures in Many Lands

Henry Reed’s Journey by Keith Robertson

The Minnow Leads to Treasure by A. Philippa Pearce

The Singing Cave by Ellis Dillon

“What Then, Raman?” by Shirley Aroroa


Science and Nature

The Giant Golden Book of Biology by Gerald Ames and Rose Wyler

Jets and Rockets and How They Work by William P. Gottlieb

The Peaceful Atom by Bernice Kohn

Sea Pup Again by Archie Binns

Stormy by James Kjelgaard


Biography and Historical Fiction

Across Five Aprils by Irene Hunt

America’s Ethan Allen by Stewart Holbrook

From the Eagle’s Wing by Hildegarde Swift

Trace Through the Forest by Barbara Robinson

Tree in the Trail by Holling C. Holling


Legends, Myths, and Other Tales

The Golden Treasury of Myths and Legends adapted by Anne T. White

Ride with the Sun edited by Harold Courlander


Science Fiction and Fantasy

Bob Fulton’s Amazing Soda-Pop Stretcher by Jerome Beatty, Jr.

The City Under the Back Steps by Evelyn S. Lampman

Danny Dunn, Time Traveler by Jay Williams and Raymond Abrashkin


Books Too Good to Miss

Mr. Twigg’s Mistake by Robert Lawson

North to Freedom by Anne Holm

The Story of Design by Marion Downer

The Twenty-One Balloons by William Pene du Bois


Poetry

The Charge of the Light Brigade by Alfred Lord Tennyson

The Moment of Wonder edited by Richard Lewis
For more of today's books, please see Patti Abbott's blog.

December's Underappreciated Music: December 2017

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The monthly assembly of undervalued and often nearly "lost" music, or simply music the blogger in question wants to remind you reader/listeners of...

Patti Abbott: Nightly Music and What Makes for Happiness

Brian Arnold: Shirley Ellis: "You Better Be Good, World"; Kenny & Dolly: A Christmas Remembrance;  Al Alberts Showcase:  "Christmas Special 1979"; John Denver & the Muppets: A Christmas Together

The !!! Beat (1966): Barbara Lynn et al.

Recorded February 16,1966 
1. Intro by Hoss Allen, including The Beat Theme  
2. Barbara Lynn - What'd I Say 
3. The Kelly Brothers - I'm Falling In Love Again 
4. Little Gary Ferguson - I Got You
5. Gatemouth Brown - When My Blue Moon Turns To Gold Again 
6. Barbara Lynn - You'll Lose A Good Thing
7. The Kelly Brothers - I'd Rather Have You
8. Mighty Joe Young - Tell Me Why You Want To Hurt Me So
9. Gatemouth Brown - Fiddle Instrumental #4
10. The Kelly Brothers - Amen 

Jayme Lynn Blaschke: Friday Night Videos

Paul D. Brazill: A Song for Saturday


Jim Cameron: Nina Simone: "Trouble in Mind"


Kasey Chambers Band: "Rattlin' Bones"


Sean Coleman: Tom Petty and the Heartbreakers: She's the One; Bread

Bill Crider: Song of the Day; Mitch Margo (of the Tokens)
The Next Edition Quartet: Bill Crider, Ed Looby, Gary Logsdon and Richard Wolfe: "The Lion Sleeps Tonight"


Jeff Gemmill: Top 5s; Neil Young and Crazy Horse: Broken Arrowmost popular posts of 2017; Albums of the Year, 2017; Runners-Up, 2017;Concerts of the Year, 2017

Jerry House: The World Folk Music Association and their concerts; Hymn Time; Music from the Past; Bill Crider's band the Fabulous G-Strings

Jackie Kashian: Paul Sabourin on outsider music

George Kelley: Shelby Lynne & Allison Moorer: Not Dark Yet; Will Friedwald: The Great Jazz and Pop Albums; Katherine Jenkins: This is Christmas; Rolling Stones: On Air: Songs from the BBC 1963-65; Natalie MacMaster and Donnell Leahy: A Celtic Family Christmas

Jim Kweskin Jug Band: "Hannah"

Kweskin Band featuring Maria Muldaur: "Ain't Gonna Marry"


Kate Laity: Song for a Saturday

B. V. LawsonRising star Thom Southerland is directing a new production of Andrew Lloyd Webber’s Tony and Olivier-Award nominated musical, The Woman in White for a 12-week season at the UK's Charing Cross Theatre. The  tale of love, betrayal and greed, adapted from Wilkie Collins’ haunting Victorian thriller, sees Walter Hartright’s life changed forever after a chance encounter with a mysterious woman, dressed in white, desperate to reveal her chilling secret. The production will run through February 10, 2018.

Evan Lewis: The Bonanza Cast: Christmas on the Ponderosa; Michael Landon: "Linda is Lonesome" and other singles; the Five Worst Xmas songs?

Maltin on Movies: Mark Mothersbaugh

Barry Malzberg: NBC Orchestra conducted by Arturo Toscanini, Robert Shaw Chorale, Herva Nelli, Robert Tucker: Aida; 26 March 1949 broadcast
Clean, propulsive, fierce, an absolute revelation and the old man's modesty, deference, utter relinquishment of vanity in the curtain calls shows us something that has gone out of the world.  That might have never been in the world (but we used to lie that it was). Give it the two hours and thirty-one minutes.  Worth it.  The Triumphal March and all preceding are at that level where you just drop the knitting and everything else.


Marc Maron: Bernie Maupin & Kasper Collin; Jimmie Vaughn; "Little" Steven Van Zandt; Loudon Wainwright III

Todd Mason: Elegies and Lamentations

Becky O'Brien: Jim Nabors

Andrew Orley: Nobody's Listening

Lawrence Person: Shoegazer Sunday

Charlie Ricci: D. B. Reilly: Live from Long Island City; Robbie Robertson's "Christmas Must Be Tonight" (as recorded by The Band, by Robertson and by Hall & Oates); The Red Button: She's About to Cross My Mind; Roseanne Cash, et al.: Holidays Rule, Vol. 2

Keely Smith and Her Orchestra: "How High the Moon"


Ella Fitzgerald and Band: "How High the Moon"


W. Royal Stokes: The Best and Notable Jazz Releases of 2017

A. J. Wright: Jackie Green and the Five Spirits of Rhythm (among other recordings of): "Alabamy Bound"; Wilhelm Iucho: "Alabama Waltz" (1835)

David Amram Band: Waltz from "After the Fall"

FFB: THE SUPERNATURAL IN FICTION edited by Leo P. Kelley (McGraw-Hill 1973); THE ILLUSTRATED BOOK OF SCIENCE FICTION LISTS by Mike Ashley (Virgin Books 1982; Cornerstone Library/Simon & Schuster 1983)

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Two good examples of painless education in fantastic fiction publishing, even if neither was given quite the support they could have used. Leo P. Kelley, as far as I know, was never a teaching academic, but nonetheless was tapped by McGraw-Hill to edit three volumes in their 1970s textbook series Patterns in Literary Art; they issued this one along with Fantasy: The Literature of the Marvelous (also 1973) and Themes in Science Fiction (1972), all three interesting selections of classics, chestnuts and amusing choices of a more unlikely sort, but not unreasonably so. Kelley was primarily a speculative fiction writer, while also an advertising copywriter for most of his daily bread, from 1955 into the early 1970s, and in later years turned most of his fiction-writing attention to western novels. Mike Ashley has been a notable anthology editor, in historical fiction, crime fiction and other matter as well as sf and fantasy, but might be even better known as an historian of sf and fantasy, crime fiction and also of fiction magazine publishing generally; he has also been active in local politics in his native England. Ashley's book of lists, by no means focused exclusively on sf but very much also on fantasy and horror, was first published in Britain a  year before its (I suspect) rather less-well-copyedited and -produced US edition (I've never seen the UK original), and after his first major work on the history of sf magazines had been published in both countries. Ashley's colleagues Malcolm Edwards and Maxim Jakubowski would offer The Complete Book of Science Fiction and Fantasy Lists (reprinted in the US as The SF Book of Lists) in 1983, theirs published in both countries in the same year, thus putting the two books head to head in their US editions. Both the Edwards/Jakubowski book and the further Kelley texts might be discussed in future FFB essays as I dig them back out of storage boxes; the McGraw-Hill series included at least one other volume of considerable fantastic-fiction interest, Heaven and Hell edited by Joan D. Berbrich. Both books are much of their time, as commercial properties...the Kelley an example of the new freedom and diversity in literature-textbook publishing aimed at high school and younger college students in the 1970s particularly, the Ashley and its companion volume part of the wave of books, including several  direct sequels to the immensely popular The Book of Lists (1977) assembled by Irving Wallace and his daughter Amy Wallace and son (who reverted to the pre-Ellis Island version of the family name) David Wallechinsky; Amy Wallace would be among the many to produce more specific Books of Lists, including compiling (with Dick Manitoba) The Official Punk Rock Book of Lists (2007) and (with Scott Bradley and Del Howison) The Book of Lists: Horror (2008). 

From ISFDB:
As noted above, a rather good mix of inarguable classics, those recognized by most readers and those recognized by those knowledgeable in horror and related fields, along with some interesting but more obscure items, including the rather opportune inclusion of one of Kelley's own stories. (Well, for writing  the discussion questions he appends to each of the entries in the book, certainly there's no better authority on "The Dark Door"...) Even the Lanier "Brigadier Fellowes" story is one of the less dull examples of that series. The notion of the "haunted house of Man's mind" would sound a bit less ponderously sexist, if not much less ponderous, in 1973, but even then the utter lack of women contributors to this volume might've been a matter for some discussion. 

Far more inclusive, even given the thus slightly misleading title, the Ashley compendium is good-natured, careening cheerfully from the factual to the arguably factual to the utterly opinionated (including sever writers' choices of their own best, and in Isaac Asimov's case also his worst, work and those other writers most influential on them and/or the larger literary world). For all that it is illustrated, the reproduction is sometimes poor, exclusively in black and white in the text of the book (color printing in 1983 still not as comparatively inexpensive  as it is today), giving some of the author photographs an almost cartoonish look and the cover reproductions muddy, and the headers to most lists, while rather well set-off from the rest of the text, are also at times poorly copy-edited or typo'd: Richard Lupoff's "Alternative Hugos" list is carefully revised incorrectly into "Alternative Heroes" in both the header on its page and in the rather detailed, but page-number-free, table of contents. Nonetheless, these examples of bad publishing practice don't detract too much from the enjoyment of the arguments one can have with the choices made (Baird Searles's selection of the best fantasy films seems much more sound to me than his selection of the best sf films, for example), the parameters accepted (in selecting the most valuable collectors' items among published books, for example) and the like, while also enjoying the assessments of those not so often heard from even in these days of the clickbait list and databases of opinion, such as Mary Elizabeth Counselman's choices of notable Weird Tales stories, or even Robert Bloch's selection of the best Lovecraft fiction. Not a few of the factual matters discussed have since been superseded, of course (tallies of awards won, largest sales figures, most issues of magazines published) , but that is inevitable, in a book such as this published when there was no quickly-accessibe web, and magazines and fanzines, and newsletters and newspapes when they would cover such matters, were the only sources for this kind of information...thus the vogue for this kind of book.

One kind of list where a blog has a Definite advantage...even given these would not be my choices, even from the artists in question (well...maybe the Brown Startling cover...), and I wish di Fate had given a bit of description of why he chose these particular works: 

Vincent di Fate's 10 favorite fiction magazine covers:

Astounding Stories, December 1934: Howard V. Brown:

 Astounding Science Fiction, October 1939, Hubert Rogers:

Startling Stories, November 1939, Howard V. Brown:

Astounding Science Fiction,  May 1951, Hubert Rogers:

Space Science Fiction, September 1952, Earle K. Bergey:

Astounding Science Fiction, October 1953, Kelly Freas:

Analog, September 1962, Yura "George" Solonevich:

Analog, May 1966, John Schoenherr:

Analog, December 1967, John Schoenherr:

Analog, July 1975, John Schoenherr:

Both books worth seeking out, and inexpensive, from the usual sources. 

ISFDB lists the three Kelley anthologies in the Patterns in Literary Art series (and the Contento/Locus Index lists only the fantasy and the sf volumes), but the Berbrich anthology Heaven and Hell is detailed among the indices I've seen only in WorldCat and derivative services:

General introduction.

Heaven and hell and all that: 
Cynewulf. The last judgment. 
Parkes, F. E. K. African heaven. 
Lester, J. Stagolee. 
Maier, H. What price heaven? 
Goldin, S. The last ghost. 
Laurance, A. Chances are. 
Priestley, J. B. The gray ones. 
Levertov, D. The dead.

The paths of good and bad intention: 
France, A. Our lady's juggler. 
Winslow, J. M. Benjamen burning. 
Straley, D. B. The Devil grows jubilant. 
Tolstoy, L. How the Devil redeemed the crust of bread. 
Beerbohm, M. The happy hypocrite. 
Davidson, J. A ballad of hell.

Bargains with the Devil: 
Anonymous. Ballad of Faustus. 
Benet, S. V. The Devil and Daniel Webster. 
Arthur, R. Satan and Sam Shay. 
Masefield, J. The Devil and the old man. 
Collier, J. Thus I refute Beelzy. 
Elliot, B. The Devil was sick. 

Reward and retribution: 
Bierhorst, J. The white stone canoe. 
Johnson, J. W. Go down, Death! 
Dante. The Inferno. 
Irving, W. The Devil and Tom Walker. 
Hesiod. Right and wrong. 
Frost, R. A masque of reason. 

And here's the cover of the UK original of the Ashley volume:

For more of today's books, please see Patti Abbott's blog.

book received: Floyd Mahannah: THE BROKEN ANGEL; BACKFIRE AND OTHER STORIES fforthcoming rom Stark House

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Floyd Mahannah is one of our Lost writers of crime fiction, as detailed in Bill Pronzini's fine introduction to this omnibus comprising one of his several novels and the apparently complete published short stories...we're told that ambition and alcoholism put paid to his career not too far into the 1960s, his handful of stories most notable in Manhunt, and reprinted in Manhunt as it went through its own tough times.

Just after the ARC of this one arrived last week, I started reading a 1964 issue of Alfred Hitchcock's Mystery Magazine, and damned if I didn't think I remembered one of the stories had Tuckerized Mahannah's name for one of the story's characters. But perhaps I just dreamed that, as I was reading the magazine issue into the very small hours, and put the issue down and went directly to sleep. 

Lots of broken dreams in this life. Cover makes a nice companion to one of Patti Abbott's.

FFB/M: FANTASY: THE LITERATURE OF THE MARVELOUS, edited by Leo P. Kelley (McGraw-Hill 1973); ALFRED HITCHCOCK'S MYSTERY MAGAZINE, August 1964, edited by Richard Decker, with Victoria S. and Ned Benham, G. F. Foster and Patricia Hitchcock (HSD Publications)

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As with the Leo P. Kelley high-school-targeted textbook in the same Patterns in Literary Art series I dealt with last week, the Fantasy companion is an interesting mix of chestnuts and some classics, with a fair amount of relatively obscure material (in 1973 and today) including a story by Kelley himself...but even more than the Supernatural volume, or the earlier Themes in Science Fiction anthology published the previous year, this one strikes me as assembled off the top of his head, featuring as it does two stories by Gahan Wilson (wrapped around the John Collier entry, no less), no fewer than four reprinted from Harlan Ellison's notable (and in 1973 very much in-print) anthology Dangerous Visions (1967), and two stories by August Derleth (for all that one is among the "posthumous collaborations" Derleth would spin out from fragments of manuscripts left among H. P. Lovecraft's papers at the time of the latter's death--as always, Derleth writing for and as himself is superior). And exactly two folktales are included...both out of collections of Irish folklore from the third decade of the 1800s...definitely giving the impression of Kelley pulling things off his shelf and putting this together rather hastily, or at least with less considered judgment than he demonstrates with the other two volumes. Also notable is the amount of arguable science fiction in this fantasy volume, particularly given his juxtaposition of potentially opposing camps of sf and fantasy in his preface. Kelley does manage to include stories by two of the more brilliant and multifarious women writers of our time in this one, however, if only two: Carol Emshwiller and Josephine Saxton.

Meanwhile, the Hitchcock's issue, coincidentally one dated with the month I was born, is otherwise a fairly typical issue of this magazine in the shank of its time as the independent "second" magazine in the English-language crime-fiction market (Ellery Queen's Mystery Magazine being the best-selling and most traditionally respected in those years, and most years before and since; the second publisher of EQMM, Davis Publications, founded around the purchase of Queen's in 1958, would buy AHMM in 1976), and as such it suggests a few thoughts about the magazines in the field and AHMM's place among them.

Contents: courtesy the Contento/Locus Index to Anthologies, with links to ISFDB as well:

    (McGraw-Hill 0-07-033502-8, 1973, $3.96, 305pp, tp) 

One can suspect the degree to which Kelley saw some of these stories in the same venues I would, aside from Dangerous Visions:  a number were collected in Judith Merril's Year's Best Science-Fantasy/Speculative Fiction anthologies of the latter '50s into the latter '60s (it's probably not altogether irrelevant that DV arose from the ashes of an anthology Ellison commissioned from Merril when he was editing the Regency Books paperback line), while others probably were, rather sapiently, plucked from other anthologies, including probablyPlayboy's series of books collecting their fiction. As is the John Collier classic collected here only more so, David Ely's "The Academy" is outre but not actually fantasy by most definitions, for all that it was adapted for a mildly effective Night Gallery tv series segment. Any book that includes such stories as Davidson's "Or All the Seas with Oysters" and Bloch's "The Cheaters" and Finney's "Of Missing Persons" isn't actually cheating the young readers who might've been assigned this text, and the likes of Hensley's "Lord Randy", while also barely fantasy if at all, does have a built-in appeal to young readers. That the surreal Emshwiller and the similarly edge-of-science-fiction Asimov  stories might be brought together in this context is actually pretty useful, even if this book thus doesn't become a compilation of consistently brilliant work it might've been. George Malko in, and Jack Vance or Shirley Jackson or Joan Aiken or Jorge Luise Borges or Fritz Leiber or Muriel Spark or Margaret St. Clair not in, is a somewhat eccentric choice, and one wonders what specifically drove it.

Barry Malzberg somewhere once made an offhanded joking reference to, close paraphrase, "a plot stupid enough to sell to Hitchcock's" in the HSD years, and the desire to feature twist endings as a default did lead AHMM to offer some pretty damned dense semi-idiot plots. Richard Deming's "Escape Routes" (this one, as opposed to the other one, as Douglas Greene is careful to help us distinguish) is an unfortunate example of this...a fleeing criminal accidentally hijacks another fleeing criminal's car and loot...and, knowing that the other fleeing criminal had a risky plan of escape from his own current perplex, decides to go ahead and impersonate the second criminal and steal the latter's false identity and escape plan, rather than contenting himself with stealing the considerable cash and car and making his own way to a no-extradition haven.  It's cute, and has good detail, but is indicative of a weakness for this kind of story that it's also the lead story for the issue. Jack Ritchie's "Captive Audience" is more clever, if relatively slight, in its tale of a kidnapping survivor who gets to bite back at his former captors, including supposed friends. Jonathan Craig's "Bus to Chattanooga" is rather better yet, for all that it posits a rather too stereotypical abusive situation for its backwater young woman and her adoptive, thuggish uncle...her means of getting around this, however, are reasonably well thought out and the story makes emotional sense as well, however much we might wish it didn't, even given she wins in the the end.  Arthur Porges's story is part of a series of his, and in one of his default modes--it's another update on Sherlock Holmes, and the kind of notional story Porges would also tend to write in his science-fictional work, where there is a simple but baffling problem that can be addressed by some technological know-how...an approach that can make for amusing, but usually rather light at best, fair-play detection or dealing-with-the-aliens kinds of story...Porges was usually a bit better in fantasy contexts, where his cleverness with this kind of gimmick lent itself to even greater wit and charm, as with his relatively famous deal-with-a-minor-demon story "$1.98". Ed Lacy lives down to my expectations with his story, marginally better than what I've seen from him elsewhere (in marginal magazines), but also referring to whites and "natives" in the Caribbean...when he means whites and blacks, as opposed to actual native nation folk. I somewhat idly wonder if there's any familial connection between Jonathan and Douglas Craig. 

AHMM was the Other consistently good-paying short crime fiction market in the 1960s, along with Queen's; I gather The Saint Mystery Magazine as well as knowing Mike Shayne Mystery Magazine and the dying Manhunt were rather less well-funded and thus less generous; not sure about the London Mystery Selection and John Creasey's, but this was also a period where crime fiction might appear, for very good money indeed, in not only The Saturday Evening Post and Playboy still, but also Cosmopolitan or The Ladies Home Journal...even if a sale to the UK Argosy or Strand were somewhat more attainable goals...one could make decent-enough money from at least AHMM and EQMM. The talent gathered in those issues, even if not always working to its fullest extent, remains pretty impressive. 

Friday's "Forgotten" Books (and more): the links to reviews and more

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This week's books, unfairly (or sometimes fairly) neglected, or simply those the reviewers below think you might find of some interest (or, infrequently, to be warned away from). Patti Abbott will probably be hosting again next week, watch this space for further developments...

Frank Babics: The Fiction Desk 10: Separations edited by Rob Redman

Mark Baker: The Forgotten Man by Robert Crais

Yvette Banek: Triple Zeck: And Be a Villain; The Second Confession; In the Best Families by Rex Stout

Les Blatt: The Bar on the Seine by Georges Simenon (currently in-print version, as The Two-Penny Bar, translated by David Watson)

Robert Briney: The Three Coffins by John Dickson Carr


Brian Busby: "Nemesis Wins" by Grant Allen

Bill Crider: The Long Haul by Anthony Johnston and Eduardo Barreto

Jose Cruz, Peter Enfantino, Jack Seabrook: EC Comics, August 1954

Martin Edwards: Burn This by Helen McCloy

Barry Ergang (hosted by Kevin Tipple): Hardy Boys: Secret of the Red Arrow by "Franklin W. Dixon"

Will Errickson: Descent by Ron Dee

Curtis Evans: Hours to Kill by Ursula Curtiss

Paul Fraser: Science Fiction Monthly, March 1976, edited by Julie Davis

Barry Gardner: Pictures of Perfection by Reginald Hill

John Grant: The Housekeeper and the Professor by Yoko Ogawa (translated by Stephen Snyder); God's Spy by Juan Gomez-Jurado (translated by James Graham); Dear Fahrenheit 451: Love and Heartbreak in the Stacks: A Librarian's Love Letters and Breakup Notes to the Books in Her Life by Annie Spence

Rich Horton: Lieut. Gullivar Jones: His Vacation, by Edwin L. Arnold

Jerry House: Lieut. Gullivar Jones: His Vacation, by Edwin L. Arnold

Tracy K: Where There's a Will by Rex Stout

George Kelley: Rise of the Terran Empire by Poul Anderson

Joe Kenney: Venus on the Half-Shell by "Kilgore Trout" (Philip Jose Farmer)

Margot Kinberg: The Fortunate Brother by Donna Morrissey

Rob Kitchin: Midnight in Berlin by James McManus; A Gentleman in Moscow by Amor Towles

Evan Lewis: The Oscar by Richard Sale

Todd Mason: Fantasy: The Literature of the Marvelous edited by Leo P. Kelley; Alfred Hitchcock's Mystery MagazineAugust 1964, edited by Richard Decker, with Victoria S. and Ned Benham, G. F. Foster and Patricia Hitchcock

James Nicoll: Anthonology by Piers Anthony

John F. Norris: Bill "Ironsides" Cromwell and Johnny Lister novels by "Victor Gunn" (Edwy Searles Brooks)

Juri Nummelin: Night Film by Marisha Pessl

John O'Neill: First World Fantasy Awards, edited by Gahan Wilson; The World Fantasy Awards, Volume Two, edited by Fritz Leiber and Stuart David Schiff   [Mason on First World Fantasy Awards;The World Fantasy Awards, V. 2]

Matt Paust: The Fever Tree by Richard Mason  [Neeru on The Fever Tree]

Mildred Perkins: Hex by Thomas Olde Heuvelt; A Very British Murder by Lucy Worsley

James Reasoner: "The Lost End of Nowhere" by Gordon McCreagh

L. J. Roberts: Bryant & May: Wild Chamber by Christopher Fowler

Gerard Saylor: Britten and Brulightly by Hannah Berry

Steven H. Silver: "A Thousand Deaths" by Jack London; "The Holes Around Mars" by Jerome Bixby

"TomKat": Cat's Paw by Dorothy Blair and Ellen Page

Prashant Trikannad: 2017 reading in review

David Vineyard: "Flight to Singapore" by Donald Barr Chidsey

FFB: HEAVEN AND HELL edited by Joan D. Berbrich (McGraw-Hill 1975); SUPERFICTION, OR THE AMERICAN STORY TRANSFORMED edited by Joe David Bellamy (Random House/Vintage 1975)

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Two 1975 textbooks, more or less.

Though Joe David Bellamy's anthology SuperFiction was published in Random House's "prestige" paperback line Vintage (and to be published in 1975 as a slightly beefy mass-market paperback with a pricetag of $4.95, without color plates inside or anything else very expensive about its production, was to trade very heavily on that notion of prestige), and was available in at least some bookstores as a regular trade item, it clearly was from inception meant to be sold primarily to a limited audience, and often as not as a textbook (in 1975, a mass-market paperback from Random House's recently-acquired Ballantine paperback line, of similar dimensions and page count, would be printed on slightly thinner, less acid-free paper and probably go for $1.50). It, however, is a rather charming anthology demonstrating some of the various means US fiction had been exploring fantasticated approaches, in form and content, to cope with the world and the human condition since mid-century.  

Anatole Broyard didn't like this book. But, even as late as 1975, perhaps except at Vintage's sales department (and even there maybe with mixed emotions), it wasn't really expected or hoped that Broyard and (perhaps even more) those he could be seen to represent in the cultural establishment would like the book or the fiction it hoped to showcase, even given that the contributors were often not the youngest of young lions, even if on average a bit younger and more untraditional than even such peers as Saul Bellow or Mary McCarthy or Philip Roth. 

While (with this third example of the high school-oriented "Patterns of Literary Art" series of textbooks I've dealt with over the last three weeks, as examples of of what McGraw-Hill and other explicit textbook publishers decided they had latitude to experiment with by the 1970s), Joan Berbrich was attempting something perhaps even a bit more "subversive" than what Bellamy hoped to suggest, in moving in her book  from religious texts and similar matter to various sorts of intentional fantasy fiction, and treating with folklore and myth also treated as such at time of writing, to both engage young student readers and also to get at the underlying currents of literature, and, like Bellamy, to demonstrate how this fantasticated material was taking on, in its various ways, the largest questions facing humanity that are or can be explored by art. And doing so via the inclusion, in a 1975 text, of not only a poetical play for voices by Robert Frost, but also a radio play, classics by Tolstoi and Dante (as translated by John Ciardi) and Benet and Beerbohm and John Collier  (and less-well-known gems by Alice Laurance and Robert Arthur and Stephen Goldin and Bruce Elliot),  and Julian Lester's retelling of the Stagolee/Stackolee/Stagger Lee folktale...Lester having just died yesterday, after an eventful and accomplished life and a short illness. Berbrich also includes a fine "first story" by Joyce Winslow, "Benjamen Burning" (the name as presented), which had been in the 1969 Best American Short Stories, after publication in a University of Michigan campus magazine and reprint in R. V. Cassill's "best of the young writers" anthology Intro 1 the previous year. (Most sources cite the Cassill as the source of the story, which is incorrect, as I was able to confirm with Ms. Winslow yesterday; after her own rather impressive career so far, focusing in large part on various sorts of public relations nonfiction writing, she's looking forward to seeing in print her first collection of her short stories for adults, to include this and other Pushcart Prizes-reprinted, National Press Club Prize-winning and other short stories she's been publishing over the years.) It's also notable how this book recapitulates the "multiple stories from one source" trope evident in the Leo P. Kelley volumes in the series: the Laurance and the Goldin stories come from the same all-originals anthology Protostars; amusingly, between the two 1975 books considered this week, the Joyce Winslow and the Joyce Carol Oates stories were in the same 1969 volume of BASS. 

More to come about all this, as personal events are intruding on each other...and I wasn't even able to finish the the revised index of the Berbrich anthology yesterday, though I did improve considerably and correct a few omissions in the Contento Anthology Index listing for the Bellamy.


Heaven and Hell edited by Joan D. Berbrich (McGraw-Hill 0-07-004837-1, Patterns in Literary Art series, 1975, 268+vii pp, trade paperback)

vi · General Introduction · Joan D. Berbrich · in

· Heaven and Hell and All That · Joan D. Berbrich · es

· The Last Judgment · Cynewulf · pm
· African Heaven · Francis Ernest Kobina Parkes · pm · New World Writing #15 1959
12 · Stagolee · Julian Lester · folktale Black Folktales (Grove Press 1969)
25 · What Price Heaven?  · Howard Maier · radio play
48 · The Last Ghost · Stephen Goldin · (ss) Protostars, edited by David Gerrold and Stephen Goldin (Ballantine, 1971)
56 · Chances Are · Alice Laurance · (ss) Protostars, edited by David Gerrold and Stephen Goldin (Ballantine, 1971)
67 · The Grey Ones · J. B. Priestley · (nv) Lilliput Apr/May 1953
85 · The Dead · Denise Levertov ·  (pm) With Eyes at the Back of Our Heads (New Directions, 1959)

89
 · The Paths of Good and Bad Intention · Joan D. Berbrich · es
93 · Our Lady's Juggler · Anatole France · (ss) Mother of Pearl (translated by Frederic Chapman; John Lane/The Bodley Head 1909)
100 · Benjamen Burning · Joyce MadelonWinslow · (ss)Generation V. 19 N. 2 1968
118 · The Devil Grows Jubilant · Daniel B. Straley · (pm) Said the Devil to His Wife and Other Poems (Normandie House 1944--Chicago-based vanity press?)
120 · How the Devil Redeemed the Crust of Bread · Leo Tolstoy · folktale (translated by Leo Weiner) What Shall We Do Then?... (The Complete Works of Count Tolstoy, V. 42)(The Colonial Press, 1904)
124 · The Happy Hypocrite · Max Beerbohm · (nv) The Yellow Book October 1896
150 · A Ballad of Hell · John Davidson · (pm) 

157 · Bargains with the Devil · Joan D. Berbrich · es
160 · Ballad of Faustus · Anon. 
· song
164 · The Devil and Daniel Webster · Stephen Vincent Benet · (ss) The Saturday Evening Post Oct 24 1936
180 · Satan and Sam Shay 
· Robert Arthur · (ss) The Elks Magazine Aug 1942
196 · The Devil and the Old Man · John Masefield · (ss)  The Green Sheaf #6, 1903
203 · Thus I Refute Beelzy · John Collier ·  (ss) The Atlantic Monthly October 1940 (third and final ending version...Collier kept adding to the last lines)
209 
· The Devil was Sick · Bruce Elliott ·  (ss) The Magazine of Fantasy and Science Fiction April 1951

221 
· Reward and Retribution · Joan D. Berbrich · es
224 · The White Stone Canoe · Henry Rowe Schoolcraft and John Bierhorst · folktale/myth (The Fire Plume: Legends of the American Indians, Dial Press 1969)
228 · Go Down, Death! · James Weldon Johnson · pm (God's Trombones, The Viking Press, 1927)
232 · from The Inferno, Canto V, The Carnal · Dante Alighieri · The Inferno (translated by John Ciardi; Mentor Books/New American Library 1954)
239 · The Devil and Tom Walker · Washington Irving  · (ss) Tales of a Traveller, John Murray, 1824
252 · Right and Wrong · Hesiod · pm (translator?)
254 · A Masque of Reason · Robert Frost · verse play (Henry Holt, 1945)




Revised from the Contento Index:

    • Fantasy • Fabulation • Irrealism
    • 23 · Unready to Wear · Kurt Vonnegut, Jr. · ss Galaxy Science Fiction April 1953
    • 40 · The Elevator · Robert Coover · ss Pricksongs & Descants (Dutton 1969) --possibly reprinted rather than first published here
    • 54 · Quake · Rudolph Wurlitzer · ex Quake (Dutton 1972)
    • 76 · Chiaroscuro: a Treatment of Light and Shade · Ursule Molinaro · ss TriQuarterly Winter 1974
    • Neo-Gothic
    • 91 · By the River · Joyce Carol Oates · ss December 1968
    • 113 · The Universal Fears · John Hawkes · ss American Review #16,  February 1973 (Bantam)
    • 129 · Manikin · Leonard Michaels · ss Massachusetts Review Winter 1968
    • 137 · In Which Esther Gets a Nose Job · Thomas Pynchon · ex V (Lippincott 1963)
    • Myth • Parable
    • 157 · Queen Louisa · John Gardner · ss The King’s Indian (Knopf 1974)
    • 173 · Order of Insects · William H. Gass · ss The Minnesota Review 1962
    • 182 · One’s Ship · Barton Midwood · ss The Paris Review Winter 1966
    • 187 · Saying Good-Bye to the President · Robley Wilson, Jr. · ss Esquire February 1974
    • Metafiction • Technique as Subject
    • 197 · Life-Story · John Barth · ss Lost in the Funhouse (Doubleday 1968)
    • 213 · Sentence · Donald Barthelme · ss The New Yorker, March 7, 1970
    • 221 · The Moon in Its Flight · Gilbert Sorrentino · ss New American Review #13 1971 
    • 234 · What’s Your Story · Ronald Sukenick · ss The Paris ReviewFall 1968
    • Parody & Put-On
    • 259 · The Loop Garoo Kid · Ishmael Reed · ex Yellow Back Radio Broke Down (Doubleday 1969)
    • 274 · A Lot of Cowboys · Judith Rascoe · ss The Atlantic Monthly November 1970
    • 282 · At the National Festival · John Batki · ss Fiction, Fall 1972
    • 289 · Under the Microscope · John Updike · ss The Transatlantic Review. #28 Spring 1968 · illustrations by Ann Haven Morgan
For more of today's books, please see Patti Abbott's blog.

Yahoo News, your alternate history news source...

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Image may contain: 1 person






[Reagan's Watergate coverage courtesy Gordon Van Gelder]


 from a sidebar today, this photo and headline together:
 

Mark E. Smith, frontman of British post-punk band the Fall, dead at 60

Friday's "Forgotten" Books: the links to the reviews and more

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Walter Albert: The Alienist by Caleb Carr

Yvette Banek: The Ponson Case by Freeman Wills Croft

Bernadette: Fierce Kingdom by Gin Phillips

Les Blatt: The Secret Adversary by Agatha Christie; The Sunken Sailor by Patricia Moyes

Brian Busby: The Heiress of Castle Cliffe by May Agnes Fleming

Martin Edwards: The Deadly Dove by Rufus King

Barry Ergang (hosted by Kevin Tipple): The Case of the Sleepwalker's Niece by Erle Stanley Gardner 

Elisabeth Grace Foley: The Caine Mutiny by Herman Wouk

Barry Gardner: Night Prey by "John Sandford" (John Camp)

Rich Horton: Lavinia by Ursula K. Le Guin; Rainbow's End by Vivian Radcliffe

Jerry House: The Earth Gone Mad by Roger Dee [Aycock] 

TracyK: Death Wears Pink Shoes by Robert James

George Kelley: The Great SF Stories (1964) edited by Robert Silverberg and Martin Harry Greenberg

Margot Kinberg; Killer Instict by Zoë Sharp

B. V. Lawson:  Mrs. Knox's Profession by Jessica Mann

Evan Lewis: The Killer Angels by Michael Shaara

Steve Lewis: "Dyed to Death" by K. G. McAbee; The Blind Side by Patricia Wentworth

Brian Lindenmuth: Iron Men and Silver Stars edited by Donald Hamilton 

Steven Nester: Hollywood and LeVine by Andrew Bergman

John F. Norris:  The Other Passenger by John Kier Cross

Matt Paust: Present Danger by Stella Rimington

James Reasoner: "Ki-Gor--And the Temple of the Moon-God" by "John Peter Drummond"

Kerrie Smith: The Murder at Sissingham Hall by Clara Benson

Kevin Tipple: Mexico Fever by George Kier

"TomKat": The Vampire Tree by Paul Halter

...more to come...

FFB: books drawn from FANTASTIC and THE MAGAZINE OF FANTASY AND SCIENCE FICTION

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The two most durable of the US-based fantasy-fiction magazines of the latter half of the 20th Century, Fantastic Stories (founded 1952, folded into stablemate Amazing early in 1981) and The Magazine of Fantasy and Science Fiction (since 1949), were edited by their most durable editors forty years back (Ted White would edit Fantastic from 1969-1979, after a brief period as assistant editor of F&SF in the 1960s with Edward Ferman, who edited his magazine from 1964-1991, also serving as publisher for most of that period)...and they produced these volumes, the Fantastic volume the only above-board best-of from its magazine for two decades (eventually another, also not truly representative, would be published in the 1990s--see below), the F&SF item a slightly variant volume in a fairly regular series of best-ofs...one which gathered from a series of special author-tribute issues, beginning with a special Theodore Sturgeon issue in 1962. 

White's book is, if anything, too modest in not gathering any of the fiction he published in his issues, as he was one of the two best editors the magazine would have, drawing instead mostly on contributions from Cele Goldsmith Lalli's term, and the first issues of the magazine as edited by Howard Browne. Most of the featured-author special issues of F&SF were published during Ferman's editorship, and while the essays and bibliographies about their subjects are good reading, the often excellent stories published in those issues aren't the best of the fiction that magazine published by any of the so-honored writers...even the brilliant "Ship of Shadows" by Fritz Leiber, or the ambitious and groundbreaking Sturgeon story ("When You Care, When You Love" was meant to be part of an eventual novel, which Sturgeon never completed as far as I know) were not the most impressive work they placed with F&SF.  But you won't suffer in reading anything in either book, even the odd inclusion of a Keith Laumer story from Amazing in the Fantastic book...and I'm surprised on re-reading to find how much I enjoy Leiber's "I'm Looking for 'Jeff'", not the first Leiber story from Fantastic I would've reached for if I was White, but nonetheless so deftly written and so clearly the work of the same mind responsible for the likes of "Smoke Ghost" and "The Secret Songs" that White's bias, perhaps, toward stories he thought were being overlooked in the magazine's back issues might be indulged. It is rather sad that it took some more years before there was a special author issue of F&SF for any woman writer, and that White also almost overlooks all the notable women writers to contribute to and, like Le Guin, to be Discovered by Fantastic (the magazine was the first to publish Kate Wilhelm, Marion Zimmer Bradley, Sonya Dorman and others, at least the first professional market to publish their prose...along with featuring notable stories by a range of writers from Shirley Jackson to Pamela Sargent).  But, again, you can do worse. 

courtesy the Locus Index:


The Best from Fantastic ed. Ted White (Manor 95242, 1973, 95¢, 192pp, pb)
  • 9 · Foreword · Ted White · fw
  • 13 · I’m Looking for “Jeff” · Fritz Leiber · ss Fantastic Fll ’52
  • 27 · Angels in the Jets · Jerome Bixby · ss Fantastic Fll ’52
  • 40 · Paingod · Harlan Ellison · ss Fantastic Jun ’64
  • 51 · The Malatesta Collection · Roger Zelazny · ss Fantastic Apr ’63
  • 58 · Sally · Isaac Asimov · ss Fantastic May/Jun ’53
  • 79 · The Roller Coaster · Alfred Bester · ss Fantastic May/Jun ’53
  • 88 · Eve Times Four · Poul Anderson · nv Fantastic Apr ’60
  • 125 · Final Exam · Chad Oliver · ss Fantastic Nov/Dec ’52
  • 138 · April in Paris · Ursula K. Le Guin · ss Fantastic Sep ’62
  • 151 · A Trip to the City [“It Could Be Anything”] · Keith Laumer · nv Amazing Jan ’63
No effort to use the magazine logos...
The utterly functional hardcover edition covers;
note also the misidentification of this book as sf.

























The Best from Fantasy and Science Fiction, 25th Anniversary ed. Edward L. Ferman (Doubleday, 1974, hc)
The (even) uglier paperback editions:
Making no effort...
...and effortfully ugly...

























Previously on the blog I'd reviewed two other anthologies, among so many others, drawn from favorite fiction magazines of mine, and looking again at the two books, one drawn from The Magazine of Fantasy and Science Fiction and the other from Fantastic, it still impresses me how they demonstrated all the ways fine books can be mispublished. For example, I was at best barely aware of either book when they were published in 1985 and 1987 respectively, despite my being their ideal audience. The F&SF volume, presumably 
offered to mainline publishers such as Doubleday (which had been the regular publisher of a once-annual series of best-of anthologies from the magazine), being instead published by an instant remainder publisher, with no ad budget and presumably no review copies sent anywhere (even given that Octopus was a more ambitious remainder line than most), and ISFDB in fact records no reviews for the book in the usual media of the time. And yet it's at least a near-brilliant and hefty selection, as the table of contents below will demonstrate. Meanwhile, the somewhat more slapdash volume taken from Fantastic...with one story curiously reprinted from the utterly different 1950s magazine Fantastic Universe, presumably out of some sort of filing error on the part of co-editor Martin Harry Greenberg, famous for his systematized editing process (in part  through creating a vast database of stories including his rating of their quality). The book also showed other signs of being assembled with less than full attention, but was similarly offered on the market by its wealthy game publisher, TSR, with little sense of how to connect with the fantasy- and sf-reading public. And it, too, got no reviews in the fantastic-fiction media as notated by ISFDB. TSR spent enough on the book to include a rather haphazard selection of covers from issues of the magazine, on heavy stock and in full color, when that was still rather more expensive to do than it is now, but couldn't be bothered to list the contributors' names legibly anywhere on the covers. And while the selection of stories from the pages of the magazine is more very good than as great as it should be (no Fritz Leiber story?--not that the Leiber choice in the F&SF volume is ideal, either), there is no lack of commercially potent as well as distinguished artists among those contributors. So, at least one of the best books drawn from F&SF's inventory, comparing even with a long list of very good books indeed, and only the third book (and last, so far) to cover nearly three decades of Fantastic, the first not to be offered by an impoverished publisher, were both barely made available to their natural audience...and are mostly forgotten still. 



The Best Fantasy Stories from the Magazine of Fantasy & Science Fiction ed. Edward L. Ferman (Octopus 0-7064-2568-5, 1985 [Jan ’86], $9.98, 792pp, hc) Anthology of 40 stories from F&SF. An instant remainder book.
  • 9 · Far from Home · Walter S. Tevis · ss F&SF Dec ’58
  • 13 · My Dear Emily · Joanna Russ · nv F&SF Jul ’62
  • 33 · The Man Who Painted the Dragon Griaule [Griaule] · Lucius Shepard · nv F&SF Dec ’84
  • 59 · The Vanishing American · Charles Beaumont · ss F&SF Aug ’55
  • 69 · The Cloud-Sculptors of Coral D [Vermillion Sands] · J. G. Ballard · ss F&SF Dec ’67
  • 85 · The Invasion of the Church of the Holy Ghost · Russell Kirk · nv F&SF Dec ’83
  • 125 · The Accountant · Robert Sheckley · ss F&SF Jul ’54
  • 134 · The Fire When It Comes · Parke Godwin · nv F&SF May ’81
  • 176 · My Boy Friend’s Name Is Jello · Avram Davidson · ss F&SF Jul ’54
  • 181 · San Diego Lightfoot Sue · Tom Reamy · nv F&SF Aug ’75
  • 222 · Sooner or Later or Never Never [Crispin Mobey] · Gary Jennings · nv F&SF May ’72
  • 250 · Jeffty Is Five · Harlan Ellison · ss F&SF Jul ’77
  • 269 · The Third Level · Jack Finney · ss Colliers Oct 7 ’50; F&SF Oct ’52
  • 274 · The Silken-Swift · Theodore Sturgeon · nv F&SF Nov ’53
  • 292 · Another Orphan · John Kessel · na F&SF Sep ’82
  • 334 · The Manor of Roses [John & Stephen] · Thomas Burnett Swann · na F&SF Nov ’66
  • 389 · Please Stand By [Max Kearny] · Ron Goulart · nv F&SF Jan ’62
  • 409 · Downtown · Thomas M. Disch · ss F&SF Oct ’83
  • 419 · Man Overboard · John Collier · nv Argosy (UK) Jan ’60; F&SF Mar '60
  • 441 · One Ordinary Day, with Peanuts · Shirley Jackson · ss F&SF Jan ’55
  • 451 · Yes, We Have No Ritchard · Bruce Jay Friedman · ss F&SF Nov ’60
  • 459 · The Ballad of the Flexible Bullet · Stephen King · na F&SF Jun ’84
  • 504 · That Hell-Bound Train · Robert Bloch · ss F&SF Sep ’58
  • 517 · Will You Wait? · Alfred Bester · ss F&SF Mar ’59
  • 524 · Sule Skerry · Jane Yolen · ss F&SF Jul ’82
  • 533 · La Ronde · Damon Knight · ss F&SF Oct ’83
  • 546 · Narrow Valley · R. A. Lafferty · ss F&SF Sep ’66
  • 559 · Not Long Before the End [Mana] · Larry Niven · ss F&SF Apr ’69
  • 570 · $1.98 · Arthur Porges · ss F&SF May ’54
  • 574 · The Tehama · Bob Leman · nv F&SF Dec ’81
  • 594 · Ghost of a Crown [Brigadier Ffellowes] · Sterling E. Lanier · nv F&SF Dec ’76
  • 634 · Pages from a Young Girl’s Journal · Robert Aickman · nv F&SF Feb ’73
  • 666 · Narapoia [“The Origin of Narapoia”; Manly J. Departure] · Alan Nelson · ss What’s Doing Apr ’48; F&SF Apr ’51
  • 672 · Born of Man and Woman · Richard Matheson · vi F&SF Sum ’50
  • 675 · Mythago Wood [Mythago] · Robert Holdstock · nv F&SF Sep ’81
  • 711 · Harrison Bergeron · Kurt Vonnegut, Jr. · ss F&SF Oct ’61
  • 717 · Four Ghosts in Hamlet · Fritz Leiber · nv F&SF Jan ’65
  • 748 · Gorilla Suit · John Shepley · ss F&SF May ’58
  • 756 · Green Magic · Jack Vance · ss F&SF Jun ’63
  • 768 · Black Air · Kim Stanley Robinson · nv F&SF Mar ’83

Fantastic Stories: Tales of the Weird and Wondrous
 ed. Martin H. Greenberg & Patrick L. Price (TSR 0-88038-521-9, May ’87, $7.95, 253pp, tp) Anthology of 16 stories from the magazine, with an introduction by James E. Gunn plus a selection of color cover reproductions.

  • 7 · Introduction · James E. Gunn · in
  • 11 · Double Whammy · Robert Bloch · ss Fantastic Feb ’70
  • 21 · A Drink of Darkness · Robert F. Young · ss Fantastic Jul ’62
  • 33 · A Question of Re-Entry · J. G. Ballard · nv Fantastic Mar ’63
  • 59 · The Exit to San Breta · George R. R. Martin · ss Fantastic Feb ’72
  • 70 · The Shrine of Temptation · Judith Merril · ss Fantastic Apr ’62
  • 85 · Dr. Birdmouse · Reginald Bretnor · ss Fantastic Apr ’62
  • 97 · Eve Times Four · Poul Anderson · nv Fantastic Apr ’60
  • 126 · The Rule of Names [Earthsea] · Ursula K. Le Guin · ss Fantastic Apr ’64
  • ins. · Artists’ Visions of the Weird & Wondrous · Various Hands · il
  • 135 · The Still Waters [“In the Still Waters”] · Lester del Rey · nv Fantastic Universe Jun ’55
  • 144 · A Small Miracle of Fishhooks and Straight Pins · David R. Bunch · vi Fantastic Jun ’61
  • 148 · Novelty Act · Philip K. Dick · nv Fantastic Feb ’64
  • 174 · What If... · Isaac Asimov · ss Fantastic Sum ’52
  • 186 · Elixir for the Emperor · John Brunner · ss Fantastic Nov ’64
  • 202 · King Solomon’s Ring · Roger Zelazny · nv Fantastic Oct ’63
  • 220 · Junior Partner · Ron Goulart · ss Fantastic Sep ’62
  • 229 · Donor ·  James E. Gunn · nv Fantastic Nov ’60
  • An abridged second edition, from another publisher, of the F&SF volume that gives a less useful title and leaves off Edward Ferman's credit...a nice if misleading illustration for the Walter Tevis story, though.

    A redux post; for more of today's books, please see Patti Abbott's blog...I'll be hosting next week...

FFM: SF magazines, Fall 1978

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painting by Ron Barber; James Sallis misspelled
As I've mentioned from time to time on the blog, I fell in thoroughly (back) in love with fiction magazines in the last few months of 1977, managing to snag new issues of crime fiction and fantasy fiction magazines for the first time in those months and early 1978, but I didn't stop with those...throughout 1978, the eclectic fiction magazines and the one western fiction magazine available got attention, and had Harlequin magazine not just folded, I probably would've given it a looking over just to check it out (or if I knew how much good fiction Redbook still published...). I was reading, spottily, such fiction-publishing magazines as The Atlantic Monthly, The New Yorker, Yankee, EsquirePlayboy, National Lampoon...when I had access (TNY and Yankee mostly in libraries)...and certainly what issues of Short Story International and Far West I could find and afford, and this new thing, with inks that would get all over your fingers, called Omni (and at least one low-budget item riding briefly on its coattails, Elan Vital--though both annoyed me with their credulity when it came to UFOlogy, New Agey mysticism, and the like) (the newsstands and libraries I had available to me didn't quite extend themselves to the little magazines in sf or outside it, so no The Paris Review nor Eternity Science Fiction nor their ilk, unless I somehow overlooked them). Getting a lift as a 13-year-old, usually with my mother, to the Book Corner in Derry, NH, a good-sized independent bookstore with an excellent newsstand, and being
painting by Robert McCall; the repro unfocused...
or at least it looks blurry as printed--not the photo...
given up to five dollars or so, I'd buy a book or three, and as many fiction magazines as I could harvest (most running $1.25 a pop, the fiction magazine industry standard new for 1978)... including the sf magazines. And with the attention brought to sf by the megahit sf movies of the then recent months...Star Wars, Close Encounters, to a lesser extent Invasion of the Body Snatchers and others...there was some hope that some of that audience would turn to magazines...which some did, to a/v media magazines such as Starlog and Cinefantastique, rather than the fiction magazines.


Some changes were going down with the fiction magazines I was just catching up with, in 1978, as well. The editors of Amazing (Ted White), Analog (Ben Bova), and Galaxy (John Jeremy Pierce, who'd just  succeeded James Baen in 1977) were all on their way out the doors...this November issue of Analog in fact features Bova's farewell editorial, "Aloha"...new magazines were popping up,
such as the Isaac Asimov's Science Fiction Magazine spinoffs Isaac Asimov's Science Fiction Anthology and Asimov's SF Adventure Magazine, and Baen's new magazine in paperback book format, at his new gig as Ace Books editor, Destinies. (There were others I wasn't getting to see much, if at all, such as Cosmos, Galileo and UnEarth... despite the latter two being based in Boston, of which southernmost New Hampshire was and is a suburb.) In another year or so, Conde Nast would sell Analog to Davis Publications, whence it began its long career as a stablemate of Asimov's and Ellery Queen's and Alfred Hitchcock's mystery magazines, Galaxy would fold, and in 1982 George Scithers and his assistants would relocate from Asimov's to the newly TSR-purchased Amazing, incorporating Fantastic. Ben Bova became fiction editor at Omni, Ted White editor of Heavy Metal,  and things got a bit less interesting in sf magazine land...Davis Publications had long published Ellery Queen's Anthology as a fat semi-annual reprint-oriented magazine, and they
began offering similar offshoot titles for their other digest-sized fiction magazines as they bought (Hitchcock's in 1975, with Alfred Hitchcock's Anthology launching in late '76 with a cover date of 1977) or launched them (Asimov's in late '78, dated 1979). Davis made a deal with Dell Books hardcover imprint The Dial Press to release hardcover versions of the magazine issues, essentially for the library and specialist trade, and this went on for some years. What struck me as sad about Asimov's Anthology #1 was that it indicated to me how Asimov's SF magazine was already worse in its second year than it had been in its first...the first year had featured good John Varley, Barry Malzberg and Brian Aldiss stories, decent ones by Randall Garrett and others, and the new issues of IASFM were featuring mostly dull and trivial stories...the only memorable story for me in November/December 1978 Asimov's was the Jack Williamson contribution to the Medea: Harlan's World anthology project, the cover
story; not even the story by the usually excellent Phyllis Eisenstein did much for me; I'll admit I don't remember Malzberg and Pronzini's joke story, and I tend to remember theirs. (Medea stories were popping up in several magazines that season...Thomas Disch's in F&SF, Frederik Pohl's in the previous issue, and Poul Anderson's noted on cover above, in Analog, Williamson's in Asimov's and several in Omni...) Asimov's SF Adventure started reasonably well, also better than the run of IASFM already, with good long stories by Poul Anderson (a lightly rewritten Planet Stories novelet) and an abridged form of a Harry Harrison "Stainless Steel Rat" novel sandwiching forgettable if inoffensive short stories. 

While Galaxy was definitely on a losing streak, as the publishers UPD Publications were apparently not putting any profits back into the business, to the extent of not paying contributors. The September issue had a reasonably handsome cover, a novelty for the magazine in 1978 (it had been running some very ugly covers indeed), but was also the first of three issues to have ditched the distinctive logo the
magazine had had since founding in 1950. And while it had the last installment of a Gregory Benford movel (which I didn't read, since I had never seen the July issue, with the second installment), most of the content was either left over from Baen's inventory, or by Baen regulars still offering some fiction to the magazine (columnists J. E. Pournelle and Richard Geis also continued to publish in the magazine), or newcomers with little to recommend them (Pat Murphy was a notable exception, but she wasn't too happy with her first story there). Editor Pierce being a scholar of Paul Linebarger's work, and an associate of his heirs, led to probably the great coup of his editorship, publishing one of the last, previously unfinished "Cordwainer Smith" stories, "The Queen of the Afternoon", in the magazine, but things were Not going well. Frederik Pohl, ex-editor, offered serial rights to his novel Jem, which began in the November/December issue and dragged out for a couple of year's worth of irregularly published issues, finally publishing a last installment some two years after the complete novel had appeared, lagging behind even the paperback reprint. The last two UPD issues had been edited by Hank Stine, now Jean Marie Stine, and were attempts to draw the Star Wars audience with a more down-market approach to the same space opera fiction (mixed with the last two installments of Jem) and similar material, only not as good, to that Asimov's SF Adenture featured.

Meanwhile, James Baen was able to launch the paperback magazine Destinies, which for all the world felt like a more prosperous version of his Galaxy magazine, featuring most of the same writers, with a few thrown in (such as Dean Ing or legendary Clifford Simak) who were more likely previously (or then-recently) to have written for Analog. It was nice to see Spider Robinson's book reviews, a fixture of Baen's Galaxy and briefly having appeared in Analog, find a new home in Baen's new magazine...though the messianic tone of Baen's approach, even given also his undercurrent of support for literary experimenters, made his magazine a little off-putting at times. And while there were several anthology series devoted to publishing new fiction in science fiction in 1978 (Damon Knight's Orbit, Judy-Lynn Del Rey's Stellar, Robert Silverberg's New Dimensions, Terry Carr's Universe, Kenneth Bulmer's New Writings in SF, Roy Torgeson's Chrysalis), some even offering nonfiction features as magazines did, only Destinies blatantly advertised and formatted itself like a magazine, in the same manner the fantasy periodical Ariel: The Book of Fantasy or what had dropped New from its title to become American Review did in their fields. Among the fiction, the Ing story was notable for its take on the emerging face of political terrorism, and good stories by Gregory Benford and Charles Sheffield were also offered. 

Meanwhile, the two oldest titles, Amazing and Analog, featured not-bad issues, with the most interesting work in Ted White's magazine running as usual to the rather experimental (James Sallis's "Exigency and Martin Heidegger") and the humorous (Eileen Gunn's "What Are Friends For?" or Jack C. Haldeman II's "Last Rocket from Newark") or close-focus near-future stories (Glen Cook's "Ponce").  In the Analog, the Poul Anderson Medea story was good, and the conclusion of Jeanne and Spider Robinson's Stardance II serial was interesting, if rather more sophisticated about describing how zero-gravity dance might develop than in delineating the political crisis that took up much of the plot (the most important characters involved in the latter  were alternately Noble or Venal cardboard)...the serial would be incorporated with the earlier novella "Stardance' to make up the novel Stardance, as published in book form. Orson Scott Card and Robert F. Young lived down to their usual poor 1978 standards in their contributions to the issues...which, sadly, was still less unreadable than a typical Barry Longyear "Momus" story in Asimov's.







  • Destinies, November-December 1978
  • Editor: James Patrick Baen
  • Date: 1978-10-00
  • ISBN: 0-441-14281-8 [978-0-441-14281-1]
  • Publisher: Ace Books
  • Price: $1.95
  • Pages: 316


































































Underappreciated Music: January 2018

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The monthly assembly of undervalued and often nearly "lost" music, or simply music the blogger in question wants to remind you reader/listeners of...

Patti Abbott: Louis Prima and Keely Smith: "Just a Gigolo"; "I Ain't Got Nobody"

Jayme Lynn Blaschke: Friday Night Videos

Paul D. Brazill: A Song for Saturday


Jim Cameron: Pete (La Roca) Sims: Turkish Women at the Bath

Sean Coleman: Gordon Lightfoot: Old Dan's Records; Men at Work: Cargo; Stealer's Wheel: Stealer's Wheel

Jeff Gemmill: Top 5s; Diane Birch: "The End";  Albums of the Year: 1978-2017; First Aid Kit: Ruins; Courtney Marie Andrews: May Your Kindness Remain; Linda Ronstadt: Heart Like a Wheel

Jerry House: Theodore Bikel; Hymn Time; Music from the Past

George Kelley: Growing Up Too Fast: The Girl Group Anthology; Barb Jungr: Every Grain of Sand: Barb Jungr Sings Bob Dylan

Kate Laity: Song for a Saturday; Mark E. Smith/The Fall

Evan Lewis: Louie Fest 2003

Marc Maron: Rita Moreno;Don Was

Todd Mason: Some Sounds of DC;Some More Sounds of DC;Some Further Sounds of DC

Laura Nakatsuka: Blue Heron: "Ecce, quod natura"


Becky O'Brien: Maurice Jarre: Lawrence of Arabia; Henry Mancini: Breakfast at Tiffany's from The Sword in the Stone: "A Most Befuddling Thing"

Andrew Orley: Mark E. Smith

Dave Pell's Jazz Octet: A Pell of a Time (RCA 1957)

Lawrence Person: Shoegazer Sunday

Charlie Ricci: Brubeck Quartet/Tony Bennett Combo: The White House Sessions, Live 1962 
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