Showing posts with label surrealism. Show all posts
Showing posts with label surrealism. Show all posts

Friday, January 12, 2018

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)

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 probably Playboy'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. 

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Friday, December 8, 2017

FFB: MIND FIELDS by Harlan Ellison and Jacek Yerka (Morpheus International 1994)

Jacek Yerka is a Polish painter who was influenced first and foremost, we're told, by the Flemish school of representational art, and one can see that; the degree to which he was also influenced by Rene Magritte among the other Surrealists is also hard to miss, though there's a softness to the lines of some of his paintings not much like Magritte at all, and a sharp clarity in some that outdoes the playful elder master.  Harlan Ellison, a writer mostly but by no means exclusively of fantasy fiction and popular-culture criticism, was unsurprisingly drawn to Yerka's paintings, and with this project took to writing vignettes in response to individual paintings, sometimes little anecdotes or jokes or musings, sometime fully-fleshed if brief short stories. Not the first time Ellison would write stories around paintings, a common commissioning practice in the fiction magazines of the 1940s, when Ellison began reading them, and the 1950s, when he began his career writing for them; and not an uncommon means of creation of fiction in any era; I've done it...there's no little chance that you've done it. Further, collections of vignettes is an approach Ellison had used fruitfully before, in such literary portfolios as "From A to Z, in the Chocolate Alphabet" and, perhaps less obviously, in working around a common theme in some of his best work, such as "The Deathbird". This book is, so far, the last collection of predominantly new work Ellison has published, aside from the comics adaptations, mostly of older stories, for the magazine project (and collected reprints in book form) Harlan Ellison's Dream Corridor.

 The stories in this volume have only infrequently been seen elsewhere, and are for the most part not Ellison's best work, but are still engaging examples of his approach, each taking its title as well as inspiration at least in part from the painting it's paired with. As a nice package deal, illustration and story together, three were published in magazines before or alongside the book's appearance in 1994:

from the Locus Index:  
Mind Fields: The Art of Jacek Yerka; The Fiction of Harlan Ellison Jacek Yerka & Harlan Ellison (Morpheus International 0-9623447-9-6, Mar ’94, $24.95, 71pp, tp, cover by Jacek Yerka) Art book, a collection of 33 full-color paintings, each paired with an accompanying original short-short or prose poem by Harlan Ellison based on the painting. With notes by Ellison. A 1,000-copy hardcover edition (-03-7, $45.00 — already sold out) and a signed, slipcased, leatherbound 475-copy limited edition (-00-2, $95.00) were announced but not seen. Available from Morpheus International, 200 North Robertson Blvd., Suite 326, Beverly Hills CA 90211.
Yerka's painting trimmed for the cover format
Two of the stories, "Susan" and "Fever", were reprinted in Datlow and Windling's The Year's Best Fantasy and Horror volumes for 1994 and '95, respectively; otherwise, the prose items have in some cases been included in Ellison's retrospective collections published since, but only a few of them...they do work best, for the most part, not divorced from the paintings, even if the better ones can stand on their own. Ellison is usually better at longer forms of short fiction, giving himself room to dig in and explore the psyches of his characters in greater detail, but the charm of much of his mature work is in evidence here...the notes help make clear, as do the dedications from both Yerka and Ellison, that this book was assembled in stressful times for nearly everyone involved: Ellison had several heart attacks in the period, his wife Susan, for whom he describes "Susan" as a valentine of a story, had spinal disc problems, Jacek Yerka's young son died, not living to see the advice he gave to his father on the last painting in the book come to fruition, and even the publisher at Morpheus, James Cowan, was afflicted with motility problems that looked at first as if they would require extensive surgery (Yerka dedicates the book to the memory of his son; Ellison to the memories of the then recently-dead friends Isaac Asimov, Fritz Leiber and Avram Davidson). Added to this, Ellison is particularly disturbed  by the early '90s resurgence of Nazism and similar fascist tendencies, including Pat Buchann's new prominence as both presidential candidate (I suspected then and continue to suspect, in part to deflect David Duke from having as much influence on the GOP's contest as he might, as the less-well-known Trump wildcard of 1992) and Holocaust skeptic, however partially. Certain things never go out of style. Ellison deals with this most explicitly in "Twilight in the Cupboard".

It's a lovely book, though the semi-gloss pages in large format make it easier to look at than to read (the reproduction of the paintings looks to be excellent)...not the book to start with for Ellison, which would probably be one of the versions of Deathbird Stories, but worthy of one's time and effort to obtain it...very reasonably priced copies of the paperback edition are available from the Usual Sources.





And one of the best stories, and the painting that, to a degree Ellison found annoying, seemed to catch everyone's eye as the epitome of Yerka's brilliance, the book's cover painting as a result, "Attack at Dawn", was the sample Algis Budrys, a lover of automobiles among other relevant things, took for his magazine Tomorrow, in the same issue that published my first story. As a result, this book has a certain sentimental resonance for me. The 1995 Year's Best Fantasy and Horror which includes Ellison's "Fever" also includes my story "Bedtime" in the "Recommended Reading" longlist.

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

Mike Doran points us, in comments below, to this interview, from Tom Snyder's CNBC series, in 1994...the tape source it was uploaded from was in pretty rough shape in parts (though the audio is never seriously disrupted), and dates from the days when YT limited uploads to about 7-8 minutes each:


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Friday, October 26, 2012

FFB: The Book of Fritz Leiber (and The Second...); The Best of Fritz Leiber; The Worlds of Fritz Leiber

second edition; George Barr cover
Jonquil & Fritz Leiber, with cat, 1937
Fritz Leiber was having a pretty good time of it, professionally at least, in the 1970s. (Personally, he lost his wife, Jonquil, in 1969, after more than three decades of marriage, and had to fight his way out of the alcoholic tailspin her death put him into.) He was almost universally respected and admired by his peers, as well as by discriminating readers of fantastic fiction, and was collecting more awards from that community than anyone else had (Harlan Ellison, whose career more completely coincided with the award-giving years, would eventually surpass Leiber thus). His cycle of stories about characters analogous to himself and his old friend Harry Fischer, who had originally helped him devise Fafhrd and the Gray Mouser, were being issued in uniform editions by Ace Books by the turn of the decade, and the stories, which spanned the publishing career of the man who had invented the term "sword and sorcery" fiction, were popular enough to inspire a "mainstream" comic book devoted to them, Sword of Sorcery (Samuel Delany had slipped the two characters into the continuity he was writing for Wonder Woman at the time, encouraging DC Comics to take a flier on letting Dennis O'Neil adapt the stories and write original scripts about the characters); over at Marvel, Gerard Conway was given the go-ahead to start a fiction magazine, rather than a comics title, The Haunt of Horror, and among the new fiction that magazine offered was a two-part serialized reprint of Leiber's first great novel, Conjure Wife (which had been and has been only rarely out of print since first book publication). In yet another medium, several of Leiber's best short stories were adapted, unfortunately not very well ("The Girl with the Hungry Eyes" comes closest to a decent translation), for the television anthology series Night Gallery. While it couldn't've made up much for the loss of his wife, 1969 also saw the second fantasy magazine special issue devoted to Leiber, the July F&SF (even as there had been a Leiber issue of Fantastic in 1959 and would be a Leiber issue of Whispers in 1979); not long after, his novella You're All Alone finally saw book publication in unadulterated form, also from Ace. Leiber continued, if a bit sporadically, to contribute a review column, "Fantasy Books," to Fantastic, which was consistently interesting and enlightening, one of the few such that was on par with the excellent work in F&SF in that decade by James Blish, Joanna Russ, Algis Budrys, Avram Davidson, Gahan Wilson and others. And these four retrospectives of his work were published, by three different publishers, none truly definitive but all indicative of the breadth and depth of his talent.

The Contento indices are the source of content lists in this post:

The Best of Fritz Leiber Fritz Leiber (Nelson Doubleday, 1974, hc)
Ballantine first paperback edition
B/Del Rey reprint 
  • · The Wizard of Nehwon— · Poul Anderson · in
  • · Gonna Roll the Bones · nv Dangerous Visions, ed. Harlan Ellison, Garden City, NY: Doubleday, 1967
  • · Sanity · ss Astounding Apr ’44
  • · Wanted—An Enemy · ss Astounding Feb ’45
  • · The Man Who Never Grew Young · ss Night’s Black Agents, Arkham, 1947
  • · The Ship Sails at Midnight · nv Fantastic Adventures Sep ’50
  • · The Enchanted Forest · ss Astounding Oct ’50
  • · Coming Attraction · ss Galaxy Nov ’50
  • · Poor Superman [“Appointment in Tomorrow”] · nv Galaxy Jul ’51
  • · A Pail of Air · ss Galaxy Dec ’51
  • · The Foxholes of Mars · ss Thrilling Wonder Stories Jun ’52
  • · The Big Holiday · ss F&SF Jan ’53
  • · The Night He Cried · ss Star Science Fiction Stories #1, ed. Frederik Pohl, Ballantine, 1953
  • · The Big Trek · ss F&SF Oct ’57
  • · Space-Time for Springers [Gummitch] · ss Star Science Fiction Stories #4, ed. Frederik Pohl, Ballantine, 1958
  • · Try and Change the Past [Change War] · ss Astounding Mar ’58
  • · A Deskful of Girls [Change War] · nv F&SF Apr ’58
  • · Rump-Titty-Titty-Tum-Tah-Tee [Simon Grue] · ss F&SF May ’58
  • · Little Old Miss Macbeth · ss F&SF Dec ’58
  • · Mariana · ss Fantastic Feb ’60
  • · The Man Who Made Friends with Electricity · ss F&SF Mar ’62
  • · The Good New Days · ss Galaxy Oct ’65
  • · America the Beautiful · ss The Year 2000, ed. Harry Harrison, Garden City, NY: Doubleday, 1970
  • · Afterword · ms
The selection here is almost frustrating because it comes so close to being a good core sampling of Leiber's best work, but already has jumped the tracks by following strict chronological order of publication, except for the Hugo-winning fantasy that leads off the book, and then going on to a relatively minor if pacifism-flavored story by Leiber (a World War 2 conscientious objector), followed by another, as the earliest examples of his work...ignoring the brilliant, extremely influential "Smoke Ghost" and all the other early stories, including some of the first s&s stories, nearly as good as "Smoke Ghost" and vastly better than "Sanity" or "Wanted: An Enemy". (Presumably because these stories are relatively straightforward science fiction, as only a small portion of Leiber's best work ever was.) The book is strongest in its selections from Leiber's 1950s short stories, managing to gather many of his best sf and fantasy stories from that decade, and then proceeds to fall down again with the 1960s and '70s selections, such as there are.

The Book of Fritz Leiber Fritz Leiber (DAW UQ1091, Jan ’74, 95¢, 173pp, pb)
first edition, Jack Gaughan cover

  • 7 · Foreword · fw
  • 11 · The Spider · ss Rogue Jan ’63
  • 24 · Monsters and Monster Lovers · ar Fantastic Mar ’65
  • 37 · A Hitch in Space · ss Worlds of Tomorrow Aug ’63
  • 48 · Hottest and Coldest Molecules · ar Science Digest Mar ’52
  • 52 · Kindergarten · vi F&SF Apr ’63
  • 55 · Those Wild Alien Words: I · ar *
  • 64 · Crazy Annaoj · ss Galaxy Feb ’68
  • 70 · Debunking the I Machine · ar, 1949
  • 72 · When the Last Gods Die · ss F&SF Dec ’51
  • 79 · King Lear · ar, 1934
  • 85 · Yesterday House · nv Galaxy Aug ’52
  • 115 · After Such Knowledge · ar, 1974 Fantastic (about James Blish's triad+ of novels collectively known thus, at least to students of Blish)
  • 118 · Knight to Move [“Knight’s Move”; Change War] · ss Broadside Dec ’65
  • 128 · Weird World of the Knight [“Topsy-Turvy World of the Knight”] · ar California Chess Review Jan ’60
  • 131 · To Arkham and the Stars · ss The Dark Brotherhood and Other Pieces, Sauk City: Arkham House, 1966
  • 143 · The Whisperer Re-Examined · ar Haunted Dec ’64
  • 148 · Beauty and the Beasts [Fafhrd & Gray Mouser] · vi *
  • 151 · Masters of Mace and Magic · br
  • 157 · Cat’s Cradle · ss   
The Second Book of Fritz Leiber Fritz Leiber (DAW, Sep ’75, pb)
  • · Foreword · fw
  • · The Lion and the Lamb · nv Astounding Sep ’50
  • · The Mighty Tides [“What Makes the Mighty Tides”] · ar Science Digest Apr ’61
  • · Trapped in the Sea of Stars [Fafhrd & Gray Mouser] · ss *
  • · Fafhrd and Me · ar, 1963
  • · Belsen Express · ss *
  • · Ingmar Bergman: Fantasy Novelist · br Fantastic Mar ’74
  • · Scream Wolf · ss Mike Shayne Mystery Magazine Feb ’61
  • · Those Wild Alien Words: II · ar *
  • · The Mechanical Bride · pl Science Fiction Thinking Machines, ed. Groff Conklin, Vanguard, 1954
  • · Through Hyperspace with Brown Jenkin · ar The Dark Brotherhood and Other Pieces, Sauk City: Arkham House, 1966; revised from Shangri-L’Affaires, September 1963.
  • · A Defense of Werewolves [“Fantasy on the March”] · ar Arkham Sampler Spr ’48

These books, in comparison, don't try to present only the best of Leiber's work, but instead wanted to give a measure of the diversity of the man's writing, and as such, they succeed, even if some of the content might not be the best available examples of, for example, his pop-science journalism as an editor of Science Digest in the 1940s or his crime fiction (the books also strive to gather only previously uncollected work); the choice of the Bergman and the Blish trilogy-of-sorts essays from the Fantastic column, along with some of his earlier important literary criticism and belles lettres, was almost inarguably a very good idea. "Belsen Express," the only fiction in either volume to see first publication here, won the Howard/World Fantasy Award for best short story for its year. The play, inspired in part by Marshall McLuhan, is notable as one of the few full-fledged scripts this child of Shakespearean troupers and former professional actor allowed himself to publish (though three of the Leiber's best, most telling and most autobiographical stories of the 1960s are in modified plays-for-voices format).

The Worlds of Fritz Leiber Fritz Leiber (Ace, Nov ’76, pb)
note handsome but generic sf cover
  • · Introduction · in
  • · Hatchery of Dreams · ss Fantastic Nov ’61
  • · The Goggles of Dr. Dragonet [Dr. Dragonet] · ss Fantastic Jul ’61
  • · Far Reach to Cygnus [Dr. Dragonet] · ss Amazing Feb ’65
  • · Night Passage · nv Gnostica Jul ’75
  • · Nice Girl with Five Husbands · ss Galaxy Apr ’51
  • · When the Change-Winds Blow [Change War] · ss F&SF Aug ’64
  • · 237 Talking Statues, Etc. · ss F&SF Sep ’63
  • · The Improper Authorities · ss Fantastic Nov ’59
  • · Our Saucer Vacation · ar Fantastic Universe Dec ’59
  • · Pipe Dream [Simon Grue] · ss If Feb ’59
  • · What’s He Doing in There? · ss Galaxy Dec ’57
  • · Friends and Enemies · ss Infinity Science Fiction Apr ’57
  • · The Last Letter · ss Galaxy Jun ’58
  • · Endfray of the Ofay · ss If Mar ’69
  • · Cyclops · ss Worlds of Tomorrow Sep ’65
  • · Mysterious Doings in the Metropolitan Museum · ss Universe 5, ed. Terry Carr, Random House, 1974
  • · The Bait [Fafhrd & Gray Mouser] · vi Whispers Dec ’73
  • · The Lotus Eaters · ss F&SF Oct ’72
  • · Waif · nv The Far Side of Time, ed. Roger Elwood, Dodd Mead, 1974
  • · Myths My Great-Granddaughter Taught Me · ss F&SF Jan ’63
  • · Catch That Zeppelin! · nv F&SF Mar ’75
  • · Last · ss F&SF Mar ’57
Now this collection, while managing to mix brilliant fiction with some that were merely decent examples of what Leiber could do, still manages to represent his 1960s and '70s work much better than the Best of volume does.  "237 Talking Statues, Etc." is one of those near-play stories I refer to above (about Leiber's fraught relation with his parents, particularly his father, Fritz Leiber, Sr--who also extremely strongly resembled Leiber), the other two, insanely missing from all these collections, "The Secret Songs" (about Leiber and Jonquil and their at times distant but always mutually-affectionate relation...and their contrasting drug abuse) and "The Winter Flies" (which editor Edward Ferman retitled "The Inner Circles" as he published it in F&SF), about Leiber and his anxieties as a husband and father as well as artist. Leiber, also a ranked chess Grandmaster, is not represented in any of these three books by his chess stories aside from the slight "Knight to Move," rather than, one might suggest, the then-recent "Midnight by the Morphy Watch," fitting snugly into Worlds...but what is present includes such impressive work as "The Nice Girl with Five Husbands" (Leiber was always one of the most pro-feminist men of his time in fantastic fiction, and rarely unwilling to shock a bluenose) and "When the Change Winds Blow"...cheek by jowl with a very minor Fafhrd story in "The Bait"...

Leiber continued to scale heights, as with his last novel, Our Lady of Darkness, in 1977 (after a shorter form of that was serialized in F&SF in late '76/earliest '77 as The Pale Brown Thing), and to publish notable work, including his too-short, elegant autobiography, in the collection The Ghost Light, in the '80s, and would continue publishing up till his passing in 1992. One shakes one's head at the quirks, to say the least, on the part of the publisher's editors who, with Leiber himself, selected the stories and other work in each case, but were unable to give both a reasonably good portrait of the sophistication and innovation of his work in several fields, and present the best of his work even in a more narrow compass...but, then, the more recent The Leiber Chronicles and Selected Stories also fall short of definitive. A vast and visionary talent, hard to corral or synopsize adequately, sometimes willing to do just enough to stroke the fans, but usually swinging for the fences, and more often than not clearing the bases.

And, given the relative skittishness of the publishers of the other retrospectives about Leiber's horror fiction, it finally took Whispers Press to publish a companion focusing on this fiction, in 1978:

Heroes & Horrors Fritz Leiber (Whispers Press, 1978, hc); Edited by Stuart David Schiff.
the pb edition has the better bad cover

  • · Preface · Stuart David Schiff · pr
  • · Fritz Leiber: An Appreciation · John W. Jakes · in
  • · Sea Magic [Fafhrd & Gray Mouser] · ss The Dragon Dec ’77
  • · The Mer She [Fafhrd & Gray Mouser] · nv *
  • · A Bit of the Dark World · nv Fantastic Feb ’62
  • · Belsen Express · ss The Second Book of Fritz Leiber, DAW, 1975
  • · Midnight in the Mirror World · ss Fantastic Oct ’64
  • · Richmond, Late September, 1849 · ss Fantastic Feb ’69
  • · Midnight by the Morphy Watch · ss Worlds of If Jul/Aug ’74
  • · The Terror from the Depths · na The Disciples of Cthulhu, ed. Edward P. Berglund, DAW, 1976
  • · Dark Wings · nv Superhorror, ed. Ramsey Campbell, W.H. Allen, 1976


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

first issue of the comic book
first of 2 issues of the non-comic (title later used on a comics magazine)
1959 Fantastic
1969 F&SF
1979 Whispers





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