Wednesday, September 3, 2025

Short Story Wednesday: John D. MacDonald, Robert Arthur, Anne Gibbons, Val Duncan, Margaret Atwood: more from early 1950s US magazines: REDBOOK, June 1951; BLUEBOOK, July 1953; ELLERY QUEEN'S MYSTERY MAGAZINE, June 1953, and a new vignette by Margaret Atwood (Twitter, 2025)

John D. MacDonald:  "Nothing Must Change" (Redbook 1951); "Manhattan Horse Opera" (Black Mask 1947, as reprinted in EQMM, 1953, as "Heads I Win, Tails You Lose")

MacDonald demonstrates his mastery of various modes of short fiction between these two stories, originally published four years apart, one in Redbook, which at this point was aiming itself at younger married couples, while still broadly fitting into the dynamics of a slick magazine with a largely female readership, the other in Black Mask, not quite the birthplace of noirish crime fiction writing, but as close as any single publication came to being so. (Spell- checkers on blogging software hate the the word "noirish".) "Nothing" involves the reunion of two women friends, one now one of the key visual arts critics of the time, the other having settled in as the wife of a bohemian younger painter, a bit of a smart-ass but very devoted to his work. His wife isn't so very sure of the quality of his work. Things go better than she fears, though the degree to which she has subsumed herself into his somewhat iffy career, and unsettled by that predicament, while feeling herself, to say the least, underaccomplished in the face of both these people important to her, and afraid her old friend will and that she won't tell him he has no shot, is well drawn.

The Black Mask story  is a good, late example of what the writers for that magazine could do, and JDM was not one of the less talented ones, for all that he came in in its very last years; a relatively minor but reasonably canny functionary in the underground sports betting world of Brooklyn gets caught in the switches when smoother operators set him up for a very hard fall at the hands of much uglier thugs; things aren't going his way at all. The ending is not necessarily one you'd guess was coming, but it works. Even relatively young JDM knew how to bring a verisimilitude to his work that even some of the greater pros who were his peers could envy. 

Robert Arthur: "The Man with the Golden Hand", Bluebook 1953, was a gifted editor and a good writer, but as with this example of his Murchison Morks loose series of fantasies, could lay the shtick on a bit heavily at times. I remains an amusing story, while pushing its comic aspects a bit hard, and there are better examples among the Morks tall tales narratives (Morks isn't so much a recurring character as a narrator to others), but one could see why this story nonetheless led off the fiction contents of this issue. Redbook and Bluebook, as the titles might suggest, had begun their long runs as stablemates, but by the early '50s had been published by different organizations for some time, and Bluebook was definitely and squarely aimed at male readers, hence the fanboy article on Hemingway's machismo in this issue, as well. But they still weren't afraid of women writers contributing, and the near-vignette "Relic" by Anne Gibbons does a relative good job of setting up a rather grim discovery in the life of its boy protagonist, in the midst of his not terribly nurturing life. 

Likewise, what little I've turned up about Val Duncan, whose EQMM reprint story "Emerald Bait" was originally in Esquire, and its slick origins and relatively clever resolution don't give us any more clues than I've been able to turn up otherwise whether Duncan was a male or female writer, with its biter-bit plot and reasonably deft battle of the sexes execution. It, too, won't rock anyone's world, but you might get a chuckle out of the last little twist. One could see why editor Frederic Dannay, half of "Ellery Queen"'s two-cousins team on the writing side, dug it.


















Bluebook [Vol. 97 No. 3, July 1953] ed. Maxwell Hamilton (McCall Corporation, 25¢, 128pp, quarto, cover by Robert Doares) [] Can be read here.

This issue can be read here.



This issue can be read here.


Margaret E Atwood
@MargaretAtwood
Here's a piece of literature by me, suitable for seventeen-year-olds in Alberta schools, unlike -- we are told -- The Handmaid's Tale. (Sorry, kids; your Minister of Education thinks you are stupid babies.): John and Mary were both very, very good children. They never picked their noses or had bowel movements or zits. They grew up and married each other, and produced five perfect children without ever having sex. Although they claimed to be Christian, they paid no attention to what Jesus actually said about the poor and the Good Samaritan and forgiving your enemies and such; instead, they practised selfish rapacious capitalism, because they worshiped Ayn Rand. (Though they ignored the scene in The Fountainhead where “welcomed rape” is advocated, because who wants to dwell, and also that would have involved sex and would de facto be pornographic. Well, it kind of is, eh?) Oh, and they never died, because who wants to dwell on, you know, death and corpses and yuk? So they lived happily ever after. But while they were doing that The Handmaid’s Tale came true and Danielle Smith found herself with a nice new blue dress but no job. The end.
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Margaret Atwood: 'Handmaid's Tale Banned in Edmonton (Alberta, Canada) Schools...And everyone and their pet canary wants me to "comment."' (In The Writing Burrow, Atwood's blog, 2 September)

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

Piet Nel's reviews of stories from a number of issues of The Magazine of Fantasy and Science Fiction dear to my heart and often key early reading experiences...
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