Wednesday, November 17, 2021

Short Story Wednesdays: Wilma Shore stories (a redux review): stories from THE NEW YORKER, STORY, F&SF, GALAXY, COSMOPOLITAN, SATURDAY EVENING POST and more...


On Wilma Shore on Sweet Freedom.

Wilma Shore: 

The following four short stories (and a very brief "casual") can be read online, but behind a paywall, at The New Yorker Online:

80 * The Curving Road (ss) The New Yorker, June 12, 1948

26 *  and The New Yorker, December 4, 1948: 
The Talk of the Town: "West Coast Intelligence: A nursery school has opened in Los Angeles, called the Tot-orium." * jk/cl




and...free of charge...

80 * Dress from Bergdorf’s (Shore's preferred title: "All Sales Final" --see the review of her collection Women Should Be Allowed here) (ss) Cosmopolitan Jun 1959, which can be read online here

May Your Days Be Merry and Bright, (ss) The Saturday Evening Post Dec 21/28 1963 (which can be read online here)

A Bulletin from the Trustees of the Institute for Advanced Research at Marmouth, Mass., (ss) The Magazine of Fantasy and Science Fiction Aug 1964 (which can be read online here)
The Podiatrist’s Tale, (ss) The Magazine of Fantasy and Science Fiction Apr 1977 (which can be read online here)
...and some nonfiction, from The Writer's Handbook, 1974 edition (online here) "The Hand is Quicker Than the I" (Shore on the uses of first-person narrative form, among an appropriately star-studded cast in the how-to essay anthology.)

Encouraging the reading of Wilma Shore's frequently brilliant fiction (among other writing) is an ongoing concern of this blog, and in the pursuit of that goal, I finally purchased a discounted six week subscription trial to The New Yorker (50% discount code, courtesy of Jackie Kashian's podcast The Dork Forest, is "DORK") so as to allow me online access to the four TNY stories grouped above, while also refreshing my memory of the two latter-day The Magazine of Fantasy and Science Fiction stories (I can only assume that Edward Ferman at F&SF was offered the viciously unnerving "Goodbye, Amanda Jean" but for whatever foolish reason didn't accept it, so that it appeared in Ejler Jakobsson's Galaxy instead). 

"The Butcher" (in Story magazine in 1940) was Shore's second published story, but the first one she liked, as did the editor of Best Stories annual (soon to become, and remain today, The Best American Short Stories series), which demonstrates the early and continuing concern Shore had with the constrictions of traditional roles on men and particularly women; her idealistic and very competent young office worker is as certain she's ready to be an ideal wife as she is an utterly competent and conscientious stenographer, for all practical purposes the only profession a woman can expect to have in New York City in 1940 aside from teaching school. But, somehow, even with an appreciative and reasonably sensitive husband...domestic work at home isn't quite what she hoped it might be. And she couldn't tell you why. As the daughter of an accomplished writer, who dropped out of a California high school to study painting in France and be praised as a budding genius in that field by Gertrude Stein's brother, and then putting aside painting to be the wife of a failing actor, and mother of their child while still very young...one can see where the story might have some autobiographical resonance. 

Eight years later, when the first of Shore's New Yorker stories is published, she has a firmer grip on her tools, can work in the disparities of class as well as the hemming in of sexual assignments in detailing a reunion between a young woman and her former family maid, once a friend as well as servant, now far enough removed from her former ward's life that the latter, also, can't quite put her finger on why their last encounter feels hollow in comparison to their easy interaction when the elder woman worked for the young woman's family...at least not at the time, but, as the former Miss looks back on it a few more years later, she understands better. 
"The Ostrich Farm" deals with family dynamics of a rather more heated sort, as a boundary-free mother and her overdependent daughter don't realize there's any other way to act in regard to each other and their respective husbands. This one, and the two later stories sold to Harold Ross's magazine, are notable compared to Shore's women's and little/radical magazine stories in the degree to which the men are far more in the foreground of the stories...for TNY is about Important Matters, the kind that feature Men, doncha know, in these early but still pretty influential issues of the magazine, where the at times apparently bumptious Ross could express utter confusion in most dealings with women (his successor in the chair would famously hide from everyone). 

But "The Moon Belongs to Everyone", while written from the viewpoint of a male protagonist, still manages to have a gentler if no less wrenching emotional underpinning, where it's less the assignment of roles by society that can be constricting so much as those driven by tragedy...as when a young family, with an infant and a boy on the cusp of adolescence, loses their wife and mother suddenly. And the sense of compromises acquiesced to in the face of tragedy and need, and difficulties in fully overcoming those challenges, taking their toll. 

And by "Lock, Stock and Barrel", the wry sense of humor Shore brings to her best work is in full flower, while no less deftly drawing the predicament of the man who can't quite understand how or why his marriage has failed, and how he tries to come to grips with that fact...or, perhaps more accurately, tries very hard not to. 

These are all good stories, if not quite up to those Shore would collect from her slightly later writing for Women Should Be Allowed, her only published collection...and presumably one delivered to her book publisher about the same time as she contributed to Avram Davidson's Fantasy & Science Fiction "A Bulletin from the Trustees...", her first overt sf story, or at very least her first story for the speculative fiction magazines, and discussed in the earlier posts. Following the savage satire of "Goodbye, Amanda Jean", "Is It the End of the World?" is only a bit less (obviously) apocalyptic, dealing as it does with environmental (mostly atmospheric) degradation so profound that it might well kill us all at any time during the events of the story, but that doesn't mean that the small power-struggles and mutual dependences of family life are any less distracting from that greater danger, and how people will tolerate and adapt to almost any threat in the face of the "need" to simply get to where they want to meet, for one small purpose or another, and on time.

And while "Amanda Jean" and "End" certainly could qualify this post for consideration as entries in the February is Women in Horror Fiction Month observations, "The Podiatrist's Tale", a grimly amusing ghost story, helps clinch the deal...this might not be the last short story Shore published, but I'm not yet aware of another after 1977, and it deals with how the vicissitudes of aging might not be relieved even after death...

Even as we lost another writer not too unlike Wilma Shore in her sensitivity, craft, insight and wit, and bubbling-under influence, Carol Emshwiller, this past Saturday at age 97, with her daughter Susan and son Peter/"Stoney" announcing the fact on Tuesday. Emshwiller, who also had a not to too dissimilar life from Shore's beyond their literary work in some ways, not least in terms of engagement with the community of the avant garde in several artforms, followed such other recently-lost peers as Ursula Le Guin, Kit Reed, Grania Davis and Kate Wilhelm...and inasmuch as I attempted to write up her brilliant first collection Joy in Our Cause a few years back while staying in a hotel in Barre, Vermont, with wonky computer access and there to attend the memorial service for one of the last of my aunts, my father's sister Shirley, it might be past time for a better try. For Emshwiller, too, is perhaps not fully appreciated enough for what she contributed, sometimes obliquely, to modern horror, as well...while writing primarily surreal or satirical or metafictional work, in the modes of contemporary/mimetic fiction, science fiction and fantasy, and even in two innovative western novels.

Please see Patti Abbott's blog for more of today's reviews.

















Saturday, November 13, 2021

Saturday Music Club: some more sounds of Philadelphia

Diane Monroe: "Sometimes I Feel Like a Motherless Child"  

Lenny and Carl: "Screamo" 

Dracula's Miniskirt: "Slaughter Beach" 

Bob Malach Band: "The Philly Blues" 

3 Divas: "I Mean You"

Andrea Nardello, Andrea Weber, Michele Lynn and Josh Steingard: "Fire", "Honey Whiskey", "Give Me It All"; "When You Know, You Know", "She Walks These Hills"  (virtual Philly Folk Festival 2020)

Pagan Babies: "Dumb Cops Attacked by Squirrels" 

Frank Bey Band: "Back in Business" 

The Uptown String Quartet on Mister Rogers' Neighborhood (1997) 

Emily Shehi (solo and with Jungeun Kim): Curtis Institute Graduation Recital 


Program JOHANN SEBASTIAN BACH Selections, Sonata No. 3 in C major, BWV 1005 EUGÈNE YSAŸE Sonata in G major, Op. 27, No. 5 ELLIOTT CARTER “Fantasy: Remembering Roger,” from Four Lauds
FRITZ KREISLER Polichinelle KREISLER La Gitana KREISLER Miniature Viennese March Emily Shehi, violin Jungeun Kim, piano

Wednesday, November 3, 2021

"Dog Stories" by Francine Prose, SPECIAL REPORT: FICTION November 1990-January 1991: "Animals" (the issue's theme) edited by Keith Bellows: Short Story Wednesday

Francine Prose's "Dog Stories" is, perhaps after Rick Bass's "Antlers", the-best-known new story to be published in the 11/90 quarterly issue of Special Report: Fiction, one of a set of eight magazines published for several years by Whittle Communications for distribution to doctors' office waiting rooms (the issue, with the theme of non-human animals and our interactions, also reprints a story by Colette). Prose's story was selected by Alice Adams for the 1991 volume of Best American Short Stories (from the set of stories presented to her by series editor Katrina Kenison), the only story from Special Report: Fiction to be so included during the magazine's run. Prose included it in her 1996 collection The Peaceable Kingdom.

Reading it, finally, today, in the oversized pages of the Special Report issue (about as large as Life, Look or The Saturday Evening Post in the late '60s, or American Poetry Review or The New York Review of Books today) with ads and center-page illustrations not atypical of slick magazines, is a bit distracting, particularly with one page of the story's text across from a full-page sort-of house ad touting U.S. doctors generally, with a nearly full-sized woman's face just above that of the infant she's holding, and the headline "Amy Lyn Hollander Is My 734th Child"...a steady diet of books, digest and little magazines might lead one to be used to the occasional illustration or book ad, but relatively few full-color human faces peering intently at the reader from the corner of one's eye. Other occasional fiction magazine projects, designed by typical slick commercial magazine staff, such as Mary Higgins Clark Mystery Magazine from the Family Circle folks half a decade later, can feel very Busy in comparison to their less page-design-heavy colleagues, or even the fiction pages as usually presented in the likes of Harper's, The American Scholar or The New Yorker, or the rare other slick magazine still publishing fiction.



My scanner is not quite working, but I'll hope to have an image up soon of the Special Report: Fiction issue.

It's an unsurprisingly good story, told from the point of view of a woman on her wedding day, marrying a man she's lived with for some time, pregnant with their child and sharing parenting duties with him of her son from a previous relation, the son being of somewhat but not extraordinarily special needs attention. Their house is undergoing some renovation at the time of the wedding, but nonetheless they are holding the ceremony in their house and yard; the groom is one of the designers and builders of the house, and one of the carpenters, the most industrious of them and the most handsome, has been invited, and to add to the generally stress of he situation, the bride to be has recently been bitten by a large dog while attempting to visit a barn sale, to buy a work sink on display there for the painting studio being built into the house. Christine, the bride and a professional painter and former teacher, is slightly surprised by the amount of tension even a relatively informal wedding party is inducing in her.  The story is relatively short, and everything described as happening has her spin on it, hyper-aware, analytical or regretful or nostalgic (or some combination) as they come, including some thoughts of how her recent unfortunate encounter with a stranger and her biting dog differs from her most frequently-told dog anecdote, one about her fiancé's dog Alexander and his passion for a collie in heat he meets one day. It's a story less about earthshattering changes in the lives of the key characters than the realization that all the important parts of their lives have been in place before the wedding and that things are good, if not in several ways ideal. And that the awkwardnesses of social interaction can be endured, even when tiresome, or mixed bags, much as they are during the wedding, while pregnant and beginning to show, and suffering minor post-bite throbbing. 

Please see today's other Short Story Wednesday selections at Patti Abbott's blog


Special Report: Fiction, November 1990-January 1991, no volume nor issue numbers, William S. Rukeyser, editor-in-chief; Keith Bellows, editor; Elise Nakhnikian, managing editor (Whittle Communications, $3.50--though not known ever to be distributed to newsstands), 66pp plus covers, 10.5x14" full-color slick with heavier-grade slick paper covers.

Cover * photo of a mandrill sitting on a stool * James Balog * photo (Survivors: A New Vision of Endangered Wildlife, Abrams 1990) 
1 * Table of Contents * illustrated with a photo of Balog sitting on the stool in the same pose as the mandrill
3 * In This Issue: Every Beast of the Earth * The Editors* ed (illus. photo collage by Luis Beach)
5 * Roundtable: Animal Intuition * Vicki Hearne, Donald McCaig, William Wharton interviewed by Elise Nakhnikian * iv (illus. Daniel Zacroczemski)
11 * Leviathan * Jo Anne Randall * ss (illus. Anthony Russo)
16 * Jo Anne Randall * anon * biographical blurb (illus. photo by Roger Mastroianni)
18 * A Poetic Bestiary * group * poetry (illus. Sandra Dionisi)
18 * Where I Am * Brian Swann * pm (reprinted from Prairie Schooner,  Fall 1990)
18 * Natural Sympathy * Carl Zettelmeyer * pm
19 * After the Animal Hospital * Walter Pavlich * pm
19 * Giraffe * Enid Shomer * pm
21 * Rabbits, Live and Dressed * Paul Many * ss (illus. Alan E. Cober)
25 * Paul Many * anon. * bi (illus. photo by Roger Mastroianni)
26 * Antlers * Rick Bass* ss (illus. Thomas Woodruff)
34 * Rick Bass * anon. * bi
37 * Man and Beast * Susan Vita Weiss * ar (illus. photographs by William Duke)
41 * The Keeper * Linda Pastan * pm (illus. John Rush) reprinted from The Georgia Review. Spring 1989 
42 * A Separate Peace: Five authors describe animals that share their lands and lives * group * excerpts (source texts uncredited, possibly commissioned for this issue of the magazine) (illus. Bill Russell)
42 * Tolstoy's Dog * Yevgeny Yevtushenko (translated by Antonina W. Bouis) * ex 
42 * The Eagle * Linda Hogan * ex
42 * Sighting the Bear * Russell Banks * ex
43 * Sacred Cow * Madison Smartt Bell * ex
43 * Making Peace * Barbara Kingsolver * ex
44 * Dog Stories * Francine Prose * ss (illus. Michael Paraskevas)
53 * Francine Prose * anon. * bi (photo by Robin Thomas)
55 * The She-Shah * Colette (translated by Enid McLeod) * ss (from Creatures Great and Small, Farrar, Straus 1952)(illus. Nina Berkson)
58 * Animal Rights Tactics for the '90s * group * cartoons
58 * "Down with Down!" * P. S. Mueller * cartoon
58 * "Oh, Frieda! That blue-haired dowager is to DIE for!" * Buddy Hickerson * cartoon
58 * "Look Up!" * Bonnie Timmons * cartoon
59 * "Peruvian tree sloths stage a lay-in at the strip-mining site." * Mark Marek * cartoon
59 * "Oh, Professor Jenkins, come in. We...I mean I would like to talk with you about your work with the laboratory animals." * Kevin Pope * cartoon
59 * "Arrrg!" [shouts a fur hunter as a fox cheerfully spaypaints its fur with blue splotches] * Elwood Smith
61 * Books with Bite: Fiction that captures the animal kingdom * Digby Diehl * br column (illus. photo-collage by Don Dudenbostel)
61 * The Cockroaches of Stay More by Donald Harrington * br
61 * Edge of Eden by Nicholas Proffitt * br
61 * The White Puma by R. D. Lawrence * br
61 * Carmen Dog by Carol Emshwiller * br
63 * Cream of the Creatures: Reworked classics, the perils of a daring young rat, and other animal tales for kids * Sherill Tippins * br column (illus. Henrik Drescher)
63 * Belling the Cat and Other Aesop's Fables retold in verse by Tom Paxton, illustrated by Robert Rayevsky * br
63 * A Visit from Dr. Katz by Ursula K. Le Guin, illustrated by Ann Barrow * br
63 * Poems of A. Nonny Mouse selected by Jack Prelutsky, illustrated by Henrik Drescher * br
63 * A Rat's Tale by Tom Seidler, illustrated by Fred Marcellino * br
63 * An Eyeful of Animals * Sherill Tippins * children's animated video reviews sidebar
63 * Five Lionni Classics * vr
63 * How the Leopard Got His Spots (as narrated by Danny Glover) * vr
63 * The Fisherman and His Wife (as read by Jodie Foster) * vr
63 *  Pecos Bill (as read by Robin Williams) * vr
64 * Elsewhere in Special Reports * house ad for the then-current issues of Special Report: LivingSR: FamilySR: SportsSR: Health and SR: Personalities
66 * Passages * house ad with excerpts from items in the current issues of the six Special Report: magazines.



Thursday, September 16, 2021

Mathew Paust, RIP

Matt's Blog:  Crime Time

Here's the obit he wrote for himself, as he could see the end, with bladder cancer:

Mathew David Paust has at last slipped quietly away from the furiously whirling social experiment known throughout the galaxy, and perhaps beyond – and not without a chuckle, groan, snort, or perhaps something more imaginative – as “Earth.”

For all we know, Mr. Paust’s spirit may at this moment be strolling in celestial glory with angels or getting his ticket stamped by Beelzebub or standing alone on a corner in Winslow Arizona. What we can say with certainty is that his physical remains are stashed for the time being in a Maxwell House (good to the last drop) coffee can to be sprinkled by loved ones at a time and in an undoubtedly breezeless location of their choice.

Mr. Paust was born in Columbus, Wisconsin, two days before Japanese war planes bombed U.S. Naval ships at Pearl Harbor on Dec. 7, 1941. Turmoil on the Korean Peninsula had occupied world military considerations by the time Mr. Paust entered the U. of Wis., and Ike was quietly ensconced on the Burning Tree Golf Course (when not punching spike holes in the White House floor boards.) After three years of severe collegiate embarrassment Mr. Paust escaped into the martial hysteria himself, joining the U.S Army where he served four years learning that book learning beats the hell out of ground pounding. He returned to academia, from which he graduated eventually with a bachelor of arts degree that launched him on a career in journalism. He spent the rest of his working life reporting and developing his writing skills for a series of mediocre news organizations, retiring from the Newport News, Va., Daily Press several steps ahead of the news industry’s absorption into the more lucrative entertainment industry. Ultimately stumbling into that field alone Mr. Paust has managed a blog, Matt Paust’s Crime Time, and self-published several books, which can be found in paperback and Kindle formats at Amazon.com.

Mr. Paust was fortunate to have raised three beautiful children. He is survived by a sister, Jeni Starritt (John), a daughter, Sarah (Jake Ryan), sons, Joshua Rackley (Anne), and Michael Rackley (Shannon), and two adorable grandchildren.

Arrangements are pending with Hogg Funeral Home and Cremation.

And Matt's farewell at Fictionaut:

Dear friends,

Sorry to spring this on some of you rather unexpectedly. As most of you know, I do not like to talk about my personal problems -- especially health issues. For those not quite up to speed, it's time to let you know the cancer has pretty much had its way with me. Not sure how much time is left, but I wanted to get this to you while I still have a little left of what I consider to be the best of my faculties, i.e. irreverent sense of humor. I wrote my obituary (attached) with this consideration in mind. My daughter, Sarah, is in charge of arrangements (and please keep this private until D Day or unless my condition continues to drag out -- for the better, of course).

So . . . then there now, goodbye and good fortune to you and your loved ones. Maybe we'll meet again someday. Lunch is on me of course at oh, say, how about that corner in Winslow Arizona?

Love, Matt

December 5, 1941-September 18, 2021

Matt Paust on YouTube:

I owe an apology to readers here...Fictionaut and subsequently Facebook were announcing Matt's death as early as 7 September, and rather than bother the family, I waited to see if anyone would post on either site something which would confirm matters, or suggest people were assuming Matt's early, extremely limited circulation of his obituary above was indicative of even greater imminence than was. 

More the fool, I. But my incomplete caution did have me anticipating matters by only two days.

As Matt's close friend Shirley Chirch informed us this morning:

On behalf of Matt, I wanted to let his friends on this list know that he passed gently into the mist while listening to a lullaby yesterday morning. 

And, in reference to the too-early notes on Facebook and Fictionaut, she noted:

He laughed so hard when I told him his obit had already run. you should get some enjoyment out of that...he said he felt like Mark Twain and reports of his death were greatly exaggerated!

So, a small, unintentional gift near the end. TM

Wednesday, September 15, 2021

short stories by Eudora Welty, Robert M. Coates, James Still, and Edita Morris, from THE WORLD WITHIN: FICTION ILLUMINATING NEUROSES OF OUR TIME edited by Mary Louise Aswell (with commentary by Frederic Wertham[!]) (Whittlesey House/McGraw-Hill 1947): Short Story Wednesday

Foreword: The Wing of Madness / Mary Louise Aswell 

Introduction: The Dreams that Heal / Frederic Wertham 

The Story of Serapion / E.T.A. Hoffman (translation uncredited)

Notes from the Underground (excerpt) / Feodor Dostoevsky (translated by Constance Garnett) White Nights and Other Stories Macmillan 1918

The Black Monk / Anton Chekhov (translated by Constance Garnett) Lady with a Dog Macmillan 1917

The Beast in the Jungle / Henry James The Better Sort Scribners 1903

The Orchid and the Bee (excerpt from Cities of the Plain) / Marcel Proust (translated by C. K. Scott Moncrieff) Random House 1936

Metamorphosis / Franz Kafka (translation uncredited)

Silent Snow, Secret Snow / Conrad Aiken The Virginia Quarterly Review October 1932

The Door / E.B. White The New Yorker March 25, 1939

I Am Lazarus / Anna Kavan I Am Lazarus Jonathan Cape 1945

The Headless Hawk / Truman Capote Harper's Bazaar October 1945

Caput mortuum / Edita Morris Harper’s Bazaar  June 1941

The Fury / Robert M. Coates  The New Yorker August 15 1936

Mrs. Razor / James Still The Atlantic Monthly July 1945 (reprinted in The Pocket Atlantic edited by Edward Weeks, Pocket Books 1946)

Why I Live at the P.O. / Eudora Welty A Curtain of Green Doubleday 1941

Percy Grimm (an excerpt from Light in August)/ William Faulkner Random House 1932

Mary Louise Aswell, fiction editor of Harper's Bazaar and editor of It's A Woman's World, the anthology of fiction from HB a few years earlier (and the subject of an SSW piece a few weeks ago) continued to do some interesting things in anthologies in the coming years, including after leaving the magazine. This theme anthology counts as one of those, mixing as it does various horror and suspense stories with slightly more mundane sorts of psychodrama, with commentary appended, including probably the most famous single short story by Eudora Welty, "Why I Live at the P.O." Revered as an essentially comic piece, Aswell and, of all people, Frederic Wertham take it as indicative of disordered minds at liberty, as opposed to a not too-exaggerated lampoon of how things go in far too many families, albeit this one living in Mississippi and speaking in the patois associated with that state in midcentury. (If one doesn't recall Wertham, he was perhaps among the most consequential of pop-culture psychiatrists in the '50s, most famous for his attack on comic books Seduction of the Innocent, but also one to take the opportunity to add his not always perceptive commentary to a variety of pop-culture and more tightly-focused expression.) James Still's "Mrs. Razor" is even more like a folk-tale, though also even more steeped in the relatively straightforward details of family life in rural Kentucky at the time, wherein an imaginative, perhaps obsessive little girl imagines herself the bereft wife of a man named Razor, and her parents choose to let her play out the bit of tragedy to get it out of her system. Robert Coates's "The Fury" deals relatively straightforwardly with a man who finds himself tempted by the "wanton" women and particularly girls he encounters on a particular day in his walking through the streets of Manhattan...and how this particular set of encounters is resolved, after some of the local adults take note of his behavior. While Edita Morris's "Caput Mortuum" takes the form of a reverie between father and daughters, and is somewhat less sinister, but not lacking in sorrow, as he recounts the happier (through the haze) days of the past between a then clearly alcoholic man and his similarly-afflicted wife and his daughters' mother...this story is closest to taking the form of a fable to make its point.

As one might note from the balance of the contents, in large part a mix of chestnuts and landmarks of literature, probably for the most part at least as familiar to readers now as they were 3/4 of a century ago, along with work now relatively obscure. It's a book swinging for the fences, and while rather over-earnest while striving for its goal, does manage to gather an impressive mix of fiction in doing so.

This book can be read here.

For more of this week's Short Story Wednesday entries, please see Patti Abbott's blog.

Wednesday, September 8, 2021

stories by Kurt Vonnegut, Robert Bloch, Fritz Leiber, Avram Davidson, Rosel George Brown, Fredric Brown, Frederik Pohl & C. M. Kornbluth, Eric Frank Russell, et al; columns by Asimov, Bester, Moskowitz: FANTASTIC August 1960, edited by Cele Goldsmith Lalli; THE MAGAZINE OF FANTASY AND SCIENCE FICTION October 1961, edited by Robert P. Mills: Short Story Wednesday

Off the shelf--from six decades ago, and featuring some of the more-admired stories of Vonnegut and Bloch, and "rare" stories by similarly notable writers...

Fantastic [v9 #8, August 1960] (35¢, 132pp, digest, cover by Albert Nuetzelledited by Cele Goldsmith












































































The Magazine of Fantasy and Science Fiction [v21 #4, No. 125, October 1961] (40¢, 132pp, digest, cover by Chesley Bonestell)  edited by Robert P. Mills

As is utterly, perhaps tiresomely obvious to those who've been reading my blog entries over the years, that along with loving such magazines as Lewis Lapham's Harper's, particularly after its revamp and re-energization in 1983 (and how much The Atlantic had been on a downward slide since I first picked it up in 1978, one it hasn't ever reversed--for that matter, it was a better magazine in the '60s...), and Our Generation, the Montreal-based anarchist and libertarian socialist journal (even if I ended up contributing to Social Anarchism out of Baltimore instead--OG already had Noam Chomsky and Janet Biehl and George Woodcock and Murray Bookchin--as well as The Progressive in my early writing career, before both OG and SA folded), and loving fiction magazines and slightly more eclectic literary magazines (was even very briefly editor-in-chief of Hawai'i Review at the dawn of my arguably pro writing and editorial efforts, in 1983), particularly the likes of Ontario Review and The Paris Review and Short Story International, the crime fiction magazines (particularly The New Black Mask but also the veterans), the sf magazines, and the odd western or other specialized title that might come my way...with all of that, the fantasy and horror fiction magazines have had a special place in my heart, and in 1977 I voraciously fell upon The Magazine of Fantasy and Science Fiction (1949-date) and Fantastic (1952-1980, incorporated to a notable degree into its older stablemate Amazing Stories, at that time, and briefly revived since). I had learned of their existence in the previous-publication credits in various anthologies I'd read since about age 9, though even earlier I was beginning to seek out horror anthologies and the eclectic anthologies attributed to Alfred Hitchcock. New issues off the stands of both F&SF and Fantastic were a joy, along with such others as the little magazine Whispers and the companion Doubleday anthology series it spawned (or the companion Doubleday series Shadows) and such annuals as Gerald Page's The Year's Best Horror Fiction or Terry Carr's new Year's Finest Fantasy, and all the back issues I could dig up (not too tough even then, though not as easy as in these days of web marketing). With the folding of Fantastic, one magazine or another would tend to "take its spot" on newsstands and otherwise, whether it was Twilight Zone Magazine (and its short-lived companion Night Cry), the reasonably hardy late 1980s revival of Weird Tales (still rumored to be a going concern, though the recent death of the most recent editor and publisher, Marvin Kaye, probably means this revival has ceased completely) or the slick if rather busy-looking Realms of Fantasy, while F&SF has soldiered on.

So, for today's consideration, two relatively random, reasonably contemporaneous back issues I happened to be moving from one spot to another...one being the first publication site for Kurt Vonnegut's most popular single short story, and notable that it didn't find a home with The Saturday Evening Post or Esquire (or Esquire's offspring, Playboy and its imitators), but apparently it wasn't stroking their fur quite the right way. Shirley Jackson had placed four stories with F&SF and one with Fantastic in the 1950s, stories that likewise should've been snapped up by Redbook or The New Yorker, but apparently were the Wrong kind of strange for the less-adventurous post-Harold Ross TNY or even the more literary women's magazines (though Redbook was pitching itself at young married couples for most of the '50s)...the fantasy magazines, and their founding editors Anthony Boucher and Howard Browne, took the stories even if they weren't quite fantasy. Not the only time they would make that exception for their fantasy/sf titles.  (Boucher and his co-founding editor J. Francis McComas would both take her first story for the magazine, "Bulletin" in 1954, but from her next and most famous F&SF offer "One Ordinary Day, With Peanuts" [1955] her appearances in the magazine were in Boucher solo issues. That Boucher and Browne were also notable crime-fiction writers among other interests, not least seeking prestige for their magazines, might also have made it more attractive than solely commercial good sense to pick up the Jacksons.)

"Harrison Bergeron" isn't the most subtle of Vonnegut's stories, which probably helps to explain its relative popularity, but it is rather funny while pounding its point into the ground with more urgency than slyness. As you might know, it's the allegory of a rebel in a society that hopes to make all persons equal in every manner by, for example, constantly piping a cacophony of noises into the ears of the musically talented, and hobbling the good dancers. More, apparently, a mockery of anti-intellectualism and rigidly-imposed conformity than of egalitarianism, it can also stroke those who feel their greatness (however actually limited) stymied by the jealousy and backstabbing of the ants around them. And it leads off this, the 17th Anniversary issue, part of a trend for the year-marking F&SF issues to be "All-Star" affairs (also, in later years, issues with which the cover price needed to be raised would also be All-Star issues). And, like a number of the stories in these two issues, it is rather short, almost a vignette.

Robert P. Mills was at least as much a sophisticate in his editorial tastes as Boucher, or, rather, didn't feel he needed to obviously cater to a relative lack of sophistication in the fantasy/sf magazine readership (Boucher would, in his book review columns for F&SF itself, make reference to how the likes of Mark Van Doren's fantasies might well go over the heads of the magazine's readership, unlike those of, say, Ray Bradbury.) Mills was also not the writer that Boucher was, nor quite the artistic polymath (Boucher was also expert in at least one musical field, opera, in which he conducted a weekly program for Pacifica Radio from the station/network's foundation till his death), but if he was quite as willing to limit his magazines' horizons as Boucher was, he wouldn't advertise the fact so baldly. The story Mills would publish in his F&SF that was even more famous than the Vonnegut would be Daniel Keyes's "Flowers for Algernon", the first published form of what Keyes would expand into a novel, famously adapted for television and film and discussed in George Kelley's Friday Books entry this past week. Before taking over F&SF from the retiring Boucher, Mills had edited the companion magazine Venture Science Fiction, which had picked up the banner from the slightly fading Galaxy magazine and Damon Knight's short term as editor of If: World of Science Fiction as the US sf magazine most likely to feature what Harlan Ellison would later tag "dangerous visions", and stories that dealt relatively frankly for the time in sexual matters and other taboo topics, albeit its leaning toward sometimes grim adventure fiction also saw it get some light mockery for being a magazine about manful suffering, in the post-Hemingway, Maileresque mode. While editing Venture, he continued to assist Boucher at F&SF, and Frederic Dannay as managing editor of Ellery Queen's Mystery Magazine (even through the transition in early 1958 due to EQMM's sale to B. G. Davis. leaving Ziff-Davis to found Davis Publications, for which EQMM would be a bedrock title), and apparently served as the uncredited editor of the last two other crime fiction magazines published by Mercury Press, Mercury Mystery Book-Magazine (merged with Bestseller in 1959) and Bestseller Mystery Magazine (folded 1962), both officially edited by publisher Joseph Ferman (Ferman would also, apparently for appearances' sake, take the "official" editorial title at F&SF for the first several months after his college-aged son Edward Ferman succeeded  Avram Davidson as the editor of F&SF, after Davidson would succeed Mills; Mills went on to be primarily a literary agent, and apparently a bit more than that for James Baldwin in terms of taking care of practical matters for the writer, for the rest of Mills's professional life.)

Leading off this issue of Fantastic, after a typically chatty and not terribly deep (if more self-revealing than usual, describing his own personal utopia, yacht-based) editorial by "editorial director" Norman Lobsenz (tasked, apparently, with making sure the young and not too experienced editor Cele Goldsmith, later to marry and sign herself, eventually, as Cele Goldsmith Lalli, didn't make any serious mistakes at her legacy--and mostly Just legacy--Ziff-Davis magazines), Robert Bloch's "The World Timer" is a novelet with Bloch in jokey mode, generally amiable even when the jokes don't land, in which he would frequently (though not always) write in the work published by the Ziff-Davis magazines going back to the late '30s (most famously, his "Lefty Feep" series of stories)...Isaac Asimov, in reading the Ray Palmer-edited issue of Amazing Stories that featured Asimov's first published story, noted that the only story he thought better than his own modest effort was Bloch's "The Strange Flight of Richard Clayton" (as Asimov noted in the course of introducing the Bloch story's inclusion in Asimov et al.'s retro best-of-the-year anthology devoted to fiction first published in 1939). But Bloch at the heart of this story is getting at some serious points about psychiatry, which he'd been studying to a great degree throughout the '50s while writing some of the most famous crime-fiction work of his career (including, unsurprisingly, 1959's Psycho); beyond the comedy of humors naming of his psychiatrist protagonist "Morton Placebo", and the pharmaceutical time-travel/psychedelics as warping objective reality plot used in the story, Bloch shares his concerns with the seedier and less responsible behavior in the profession, and considered this as a result one of his best stories for the purposes of his sf- and fantasy-heavy volume The Best of Robert Bloch (Ballantine 1976)(a couple of years later, he published with Ballantine/Del Rey a companion best-of devoted to his horror and suspense fiction).

As noted elsewhere on this blog, Cele Goldsmith, who had been initially hired at Ziff-Davis as a secretary and quickly handed the task of editing a short-lived magazine for finding Pen Pals, had also been tasked with helping Howard Browne and then Paul Fairman with traffic around the fiction magazines Ziff-Davis was still publishing, though with less enthusiasm than they had previously, expensive-hobby magazines (stereo equipment, boating, electronics, photography) becoming the publisher's bread and butter (leading to cofounder B. G. Davis leaving the company to strike out on his own with Davis Publications); Browne eventually and Fairman throughout his (rather dire) editorship took a factory approach to filling Fantastic and Amazing Stories, Fairman relying on a quintet of young writers (Robert Silverberg, Harlan Ellison, Randall Garrett, Milton Lesser before legally changing his name to Stephen Marlowe, and Henry Slesar) for most of what he published in the magazines (including a brief run of wish-fulfillment fantasy magazine Dream World)--get it in Wednesday and make sure it Won't Cause Trouble, and you get a paycheck--if it's good, all the better, but that was secondary (Fairman famously didn't bother to read what he bought from his quintet). Goldsmith at this point was combing through the unsolicited manuscripts, the "slush pile", which is how, among other rather good work, Kate Wilhelm's first published story was in Fantastic in 1956. So, when Fairman resigned in '58 (and oddly enough was soon working as Assistant Editor at the Davis Publications Ellery Queen's), William Ziff and company offered young Goldsmith actual editorship of Fantastic and Amazing, with a penny/word budget for the fiction and other content, gave Lobsenz the task of keeping an eye on her and writing the "editorials" and usually conducting the letter column, and blurbing the contents, while Goldsmith tried to learn as fast as she could about fantasy and sf, and how to properly edit a magazine. One of her self-assigned projects was to lure Fritz Leiber out of one of his periodic bouts of crippling alcoholism and get him back to writing, squeezing her budget for at least 2c/word for his contributions and those of a few others, and publishing the first stories of  a remarkable number of new talents; she never won the Hugo Award for best magazine (her two magazines would compete with each other, splitting vote totals), but she did get a special award at one World Convention, for her work at improving the Ziff-Davis magazines.  When ZD found a buyer for Fantastic (the brief period of it being titled Fantastic Science Fiction, with the notion that sf sold better in magazines than fantasy did, was followed [beginning two issues after the August issue discussed here] by a longer run as Fantastic: Stories of Imagination, a rather more accurate title), and Amazing Stories (or, in the same Goldsmith/Lalli years, Amazing Stories: Fact and Science Fiction), they sold the magazines out from under her rather abruptly, and she was redeployed to ZD's bridal magazines, where she soon became the dominant and most admired editor in that specialized fashion/planning field for the rest of a lengthy career. (While ZD's Popular Electronics and Electronics World magazines ended up being the most obvious progenitors of Ziff-Davis's ultimate fate as a brand of computer information publisher and web/cable tv producer.)

But Leiber wasn't the only veteran writer Goldsmith/Lalli was interested in taking work from, even if the Leiber story, "Rats of Limbo" (not yet reprinted anywhere, as far as I know) reads like the transcript of a surreal nightmare for its brief run, with its protagonist in Limbo but tormented, in a fashion reminiscent of Sisyphus's punishment, by among others the specter of Robert E. Lee and a bevy of rats. Fredric Brown also has a similar vignette in the issue, "The House", which Brown scholar Jack Seabrook reminds me was included in Brown's most widely distributed collection, Nightmares and Geezenstacks (Bantam 1961), and two other Brown retrospectives since; it's an enigmatic and highly symbolic account of a traversal of a house that might symbolize a metaphor or psychodrama of a life coming to its end, but resists easy interpretation. It definitely reads as if it resonates more deeply with Brown than Leiber's, which can be seen as a kind of jest in comparison, does with him (look to the plays for voices by Leiber such as "The Secret Songs" and  "247 Talking Statues, Etc." for similarly obviously deeply-felt work). The kind of enigmatic fiction that Goldsmith Lalli was more open to than more seasoned editors, less receptive to non-linear narratives than old hands...though Mills and particularly his F&SF successor Davidson would be more open than many of their colleagues to this kind of story as well, with the result their magazines helped spark "the New Wave" along with the British magazines New Worlds and Science Fantasy, and such anthology series as Damon Knight's Orbit and Samuel Delany and Marilyn Hacker's Quark in later years. 

More to come...

For more (and, at the moment, more complete!) Wednesday Short Story entries, please see Patti Abbott's blog.