Showing posts with label the Futurians; critical and historical writing; science fiction. Show all posts
Showing posts with label the Futurians; critical and historical writing; science fiction. Show all posts

Friday, October 14, 2016

FFB: Isaac Asimov, autobiographical works

Of all the writers perhaps best known for their science fiction writing, the most thoroughly autobiographied has been Isaac Asimov. There the anecdotes that introduced nearly all his 399 monthly columns, most about science or mathematics, for The Magazine of Fantasy and Science Fiction (F&SF) (and perhaps a few in his similar work for Venture Science Fiction, Astounding Science Fiction/Analog, Science Digest and his editorials for Isaac Asimov's Science Fiction Magazine/Asimov's Science Fiction, among many others), and a slew of interviews throughout his life, he provided running autobiographical commentary in his collection The Early Asimov, the anthology Before the Golden Age, and much of the other relatively casual writing he contributed to such projects as The Hugo Winners volumes he introduced and wrote individual story introductions for. And there are the one essay and three volumes of explicit autobiography he wrote in his latter decades, as well as his collected letters (edited by his brother, Newsday editor Stanley Asimov), three retrospective collections of the range of his published work (one each to commemorate his 10oth, 200th and 300th published book, with the first volume of his autobiography Officially tied for 200th) and a final (so far) volume devoted to excerpts from his autobiographical writing with additional reminiscence by his widow, Janet Jeppson/Asimov. 

His earliest example of formal autobiography I'll deal with here is the essay he wrote for the Isaac Asimov issue of F&SF, the third in their irregular series devoting a portion of an issue to celebration of one or another major writer in the field who also has contributed notably to the magazine itself (the first two were devoted to Theodore Sturgeon and Ray Bradbury; since the Asimov, writers have ranged from Fritz Leiber through Kate Wilhelm to, most recently, David Gerrold, who might be the least F&SF-heavy of the honorees so far). Asimov's essay for that issue was "Portrait of the Writer as a Boy", and it served as a template for the Early Asimov and Before the Golden Age reminiscences cited above, as well as the seeds of the eventual book-length works. Like most of his F&SF essays, it was collected in a series of volumes for Doubleday,  this one Science, Numbers and
I (1968); my father picked up the 1969 Ace paperback reprint, and it was the first bit of science-fiction writer autobiography I remember reading. 

Asimov was soon being nudged, if not too hard, into considering writing a full-length autobiography; he reports that his usual response to such a suggestion is that his life had been exceedingly dull; he wrote. He had other jobs, most of them academic aside from his World War 2 work as a civilian and soldier, but otherwise he wrote. And it's true that relatively little of his life was devoted to much else beside his compulsion to write, and his desire to explain, and to have a reasonably good time when not writing or doing such similar activities as giving lectures or talks to audiences, and socializing in various circumstances, both among lifelong friends and acquaintances in sf/fantasy fandom, fellow writers, his academic and scientific peers, and the eventual wider circle of people who knew him to one degree or another, due to his work with the American Humanist Society or simply through the publicity attendant on his productivity and sustained popularity as a writer. 
His first near-bestseller, The Intelligent Man's Guide to Science, helped free him from any financial dependence on anything but further writing for the rest of his career, and the branching out he was able to do (into projects such as Asimov's Guide to the Bible and Asimov's Guide to Shakespeare, joke and limerick collections, other sorts of pop-history and eventually even bestselling sf novels). What he was doing throughout this period was also keeping a meticulous daily journal, a task he began as a youth and continued apparently till he could no longer, in his last months of life, as he was dying of AIDS in 1992, he apparently being one of those so unfortunate as to receive a contaminated blood transfusion. One of his last projects was to produce a third volume of autobiography, eventually published as I. Asimov, which was a somewhat more anecdotal, slightly less guarded roll through some of the same territory as his first two fat volumes, In Memory Yet Green and In Joy Still Felt, which also, of course, dealt with his life since the 1979-80 publication of the first two volumes, if not in as great detail as those had...he was writing and revising some of the third volume, and his non-fiction collaboration with Frederik Pohl, Our Angry Earth, from his hospital beds. 
As fellow F&SF columnist Algis Budrys noted in reviewing the books for the magazine, Asimov only occasionally draws great thematic lessons from the wealth of detail he provides, and doesn't dwell too obviously on some of his opinions of those closest to him...he makes no bones, in the first two volumes, about how much more he appreciated his daughter Robyn than his son David throughout their lives together, and how much happier he was with Jeppson than with his first wife, nee Gertrude Blugerman. Much of his early adulthood, and the accounts of if in all the volumes, was consumed by his fights with administrators and other sorts of boss at Columbia University, where he took his degrees, and Boston University, where he was for most of his life officially an associate professor at the medical school...one of the small notes of triumph at the end of the second volume is that his old antagonists at the medical school had all passed from the scene, as he went from strength to strength in the outside world , and he was finally declared, with no greater requirement of time or coursework from him, a full professor of biochemistry. As Budrys also suggests, the accumulation of detail and how he manages to keep the recounting of those details lively through multiple hundreds of pages gives the reader some sense of how Asimov the man and writer worked...even when he's not so explicit as describing his plight ca. 1960, where he rather looked upon himself as a failure: not yet having had his breakaway success with the Guide to Science, still dependent on a low salary at a third-rate medical school, not happy in his marriage nor able to make his wife happy, his relations with his children a mixed bag at best, and decreasingly happy even with his work in sf, or his ability to continue to contribute to it (very much aware of his significance to the field in the '40s and '50s, but even as the decade wore on and his success began to flower in other writing, feeling himself more and more a dinosaur in the field of writing he loved best...something he wouldn't shake till the '70s, though he marked as a turning point a conversation with the ill-fated Evelyn Del Rey in the mid-'60s, when he noted his feelings of obsolescence to her, and she replied, "Isaac, when you write sf, you are the field"). Things got much better before they got worse again. 
I've yet to read the Jeppson excerpts volume, released on the tenth anniversary of Asimov's death, but I probably will, sooner or later. Having just been dipping back into the first two volumes, and finding them as easy to dig into as I did upon first reading them as a teen, I can say they are more than a useful look into Asimov himself, while of course first and foremost that. 

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



























Lester Del Rey (or Leonard Knapp), Evelyn Del Rey. Frederik Pohl, Carol Metcalf Ulf Pohl

Friday, March 14, 2014

FFB: THE SCIENCE FICTION HALL OF FAME, Volumes 1, edited by Robert Silverberg (Doubleday 1970)

The Science Fiction Writers of America came together in the mid 1960s (formally in 1965), following the examples of the elder Mystery Writers of America and Western Writers of America, and while it didn't become the Science Fiction and Fantasy Writers of America till much later on, it always was open to those who wrote mostly fantasy as well. Among the activities emulated by the new group (quite aside from internecine strife and logrolling) were the establishment of awards and the putting together of fundraising anthologies, some of which became touchstones in the field. The Nebula Awards, and their related irregularly-assembled anthologies, were among the most obvious examples, but of more sustained popularity has been The Science Fiction Hall of Fame, Volume 1, and edited by then SFWA president Robert Silverberg, drawing on a members' poll of their choices for the best sf short stories and novelets published before the first Nebula awards, given in 1965.

the Contento Index:

The Science Fiction Hall of Fame Volume 1 ed. Robert Silverberg (Doubleday, 1970, hc)
This volume particularly has been commonly used as a textbook in sf courses, particularly in the 1970s, and has been (usually) in print in either the Avon mass-market or Tor "quality" paperback editions since publication, along with the Science Fiction Book Club edition.  It's an interesting cross-section of magazine sf and near-sf (some of the stories are sf if you Want them to be, but not by much, notably the Bixby, the Clarke and the Matheson, which are at least as much horror stories, and the Clarke is essentially a cosmic joke-story), and at least two of them are early stories by writers who went on to do much better work...to the degree that they rather resented being consistently told how wonderful their early attention-getters were (with the implication they hadn't topped them): the Sturgeon and (particularly commonly) the Asimov, which also topped the SFWA-member poll as the story most widely suggested for inclusion (the Weinbaum came in second).  Among the stories which had the most impact on me as a young reader, digging into my father's battered secondhand copy of the SFBC edition, was "A Martian Odyssey" (wherein Weinbaum names one of his characters "Putz" straightfacedly, enjoying getting that past the presumably all-goy editorial staff at Wonder Stories in 1934), where the comic touches were less important than the reasonably deft hand at exploring a fanciful Martian ecology, and the rather more grounded (than Edgar Rice Burroughs's work and similar John Carteresque adventures) yet still mind-blowing suggestions of what and how might arise on Mars as it was understood in the 1930s...while it was hardly alone among stories that would help set the template for what John W. Campbell would be seeking to offer as editor of Astounding Stories beginning in 1937, it was the best-remembered example, and one of the most fully-formed.  Even Campbell's own writing, whether the kind of super-science fiction he'd publish under his own name or the more mood-driven and existential pieces he'd publish as by "Don A. Stuart" (such as, obviously, "Twilight") didn't quite show the way as clearly, though they provided other aspects of what JWC hoped to encourage...and succeeded in doing. And while other editors at other magazines (and even such folk as Stephen Vincent Benet and Philip Wylie, writing for other markets altogether...and not represented in this book more out of parochialism than anything else) often would emphasize other aspects, such as wild adventure or even paranoid fantasy of a less salubrious sort, there were also those who reacted to what Campbell was fostering and added their own elements to it...including the Futurians, who would edit their own set of underbudgeted magazines and sometimes better-funded book lines beginning in the earliest 1940s, and such other colleagues of Campbell as writers and eventually editors as Anthony Boucher, co-founder and more visible partner in The Magazine of Fantasy and Science Fiction, and H. L. Gold, founding editor of Galaxy...their innovations, as (ex-Futurians) C. M. Kornbluth's "The Little Black Bag" and Judith Merril's "That Only a Mother" demonstrate here, would feed back into Campbell's Astounding as well as going forward to influence the work that would follow in other media...as did the work of such writers never too much in the Astounding mode as Sturgeon-student Ray Bradbury (whose contribution is from the most devoted of the adventure magazines, Planet Stories, which nonetheless was also open to the kind of almost satirical psychodrama Bradbury touches on here) and Paul "Cordwainer Smith" Linebarger, whose first story under that name was sufficiently bizarre in the late 1940s to be eagerly or reluctantly rejected by the established magazines, and appeared in the semi-professional magazine Fantasy Book...where it probably caught the eye of "Smith"'s eventual editorial champion, (ex-Futurian) Frederik Pohl, mostly because Pohl and (ex-Futurian) Isaac Asimov had a collaborated fantasy story in the same issue. That (ex-Futurian) Damon Knight was the main sparkplug of founding SFWA, with notable early assistance from such old Milford Writers' Workshop partners as (ex-Futurians) James Blish and Merril probably didn't hurt their chances of appearance in this volume, not that the stories might not've gotten them entry anyway...Knight's story is certainly one of the best in the book, and a complex study of the role of the outsider (very much including the outsider artist, and perhaps all artists) in human society...much as Fritz Leiber's is a study of how taking on face value the Official Story of how people should and do interact in society can leave one woefully unprepared for real life...these stories had a major influence on me.

Others have noted that such rather better stories as "The Star" by Arthur C. Clarke probably should've taken the place of the poll-winners included for the writers in question (the better Clarke story lost to the joke story by only a relative handful of votes), but I'd meant to make only a few quick comments on a very busy day (and about at least Volumes 2-4, as well), and found myself going on this long and not being nearly finished, so will end matters right here for now...

Please see Patti Abbott's blog for the rest of today's books and other work...

And here are the subsequent volumes I hope to usefully comment upon:

Science Fiction Hall of Fame Volume 2A ed. Ben Bova (Doubleday, 1973, hc)

Science Fiction Hall of Fame Volume 2B ed. Ben Bova (Doubleday, 1973, hc)
 The Science Fiction Hall of Fame Volume III (with George W. Proctor) (Avon 0-380-79335-0, Mar ’82, $3.95, 672pp, pb) First American edition (Gollancz 1981 as Science Fiction Hall of Fame Volume Four).
  • ix · Introduction · Arthur C. Clarke · in
  • 2 · “Repent, Harlequin!” Said the Ticktockman · Harlan Ellison · ss Galaxy Dec ’65
  • 15 · The Doors of His Face, the Lamps of His Mouth · Roger Zelazny · nv F&SF Mar ’65
  • 49 · The Saliva Tree · Brian W. Aldiss · na F&SF Sep ’65
  • 122 · He Who Shapes · Roger Zelazny · na Amazing Jan ’65 (+1); ; expanded to The Dream Master, New York: Ace, 1966
  • 216 · The Secret Place · Richard M. McKenna · ss Orbit 1, ed. Damon Knight, Berkley Medallion, 1966
  • 232 · Call Him Lord · Gordon R. Dickson · ss Analog May ’66
  • 254 · The Last Castle · Jack Vance · na Galaxy Apr ’66
  • 318 · Aye, and Gomorrah... · Samuel R. Delany · ss Dangerous Visions, ed. Harlan Ellison, Garden City, NY: Doubleday, 1967
  • 329 · Gonna Roll the Bones · Fritz Leiber · nv Dangerous Visions, ed. Harlan Ellison, Garden City, NY: Doubleday, 1967
  • 352 · Behold the Man [Karl Glogauer] · Michael Moorcock · na New Worlds #166 ’66
  • 406 · The Planners · Kate Wilhelm · ss Orbit 3, ed. Damon Knight, G.P. Putnam’s, 1968
  • 422 · Mother to the World · Richard Wilson · nv Orbit 3, ed. Damon Knight, G.P. Putnam’s, 1968
  • 461 · Dragonrider [Pern] · Anne McCaffrey · na Analog Dec ’67 (+1)
  • 580 · Passengers · Robert Silverberg · ss Orbit 4, ed. Damon Knight, G.P. Putnam’s, 1968
  • 593 · Time Considered as a Helix of Semi-Precious Stones · Samuel R. Delany · nv New Worlds Dec ’68
  • 632 · A Boy and His Dog [Vic & Blood] · Harlan Ellison · nv New Worlds Apr ’68

The Science Fiction Hall of Fame, Vol. IV ed. Terry Carr (Avon 0-380-89710-5, Jul ’86 [Jun ’86], $4.95, 434pp, pb) Anthology of Nebula Award winning stories from 1970-1974.
  • ix · Introduction · Terry Carr · in
  • 2 · Ill Met in Lankhmar [Fafhrd & Gray Mouser] · Fritz Leiber · na F&SF Apr ’70
  • 44 · Slow Sculpture · Theodore Sturgeon · nv Galaxy Feb ’70
  • 64 · The Missing Man [Rescue Squad] · Katherine MacLean · na Analog Mar ’71
  • 107 · The Queen of Air and Darkness · Poul Anderson · na F&SF Apr ’71
  • 149 · Good News from the Vatican · Robert Silverberg · ss Universe 1, ed. Terry Carr, Ace, 1971
  • 158 · A Meeting with Medusa · Arthur C. Clarke · nv Playboy Dec ’71
  • 196 · Goat Song · Poul Anderson · nv F&SF Feb ’72
  • 226 · When It Changed · Joanna Russ · ss Again, Dangerous Visions, ed. Harlan Ellison, Garden City, NY: Doubleday, 1972
  • 236 · The Death of Dr. Island · Gene Wolfe · na Universe 3, ed. Terry Carr, Random House, 1973
  • 287 · Of Mist, and Grass, and Sand [Snake] · Vonda N. McIntyre · nv Analog Oct ’73
  • 306 · Love Is the Plan the Plan Is Death · James Tiptree, Jr. · ss The Alien Condition, ed. Stephen Goldin, Ballantine, 1973
  • 324 · Born with the Dead · Robert Silverberg · na F&SF Apr ’74
  • 385 · If the Stars Are Gods · Gordon Eklund & Gregory Benford · nv Universe 4, ed. Terry Carr, Random House, 1974
  • 421 · The Day Before the Revolution · Ursula K. Le Guin · ss Galaxy Aug ’74

Friday, September 6, 2013

FFB: The critical legacy of the Futurians...Frederik Pohl and his peers...

A revisit with this brief survey, now that we've lost one of the last surviving Futurians, Frederik Pohl.

Frederik Pohl is credited with getting it all going, sort of. He was the young editor of Astonishing Stories and Super-Science Stories, nineteen when he started in 1939. His magazines were published by the discount line, "Fictioneers," of the Popular Publications pulp house...so he was getting less per week than the lowest-paid secretaries at Popular, and was expected to write for his own magazines. One way he did so was in writing book reviews...and, unusually for the pulps, he took his best shot at applying technical literary criticism to the books under discussion. Slightly younger member of the NYC-based sf-fannish group the Futurians (which included Pohl) Damon Knight took that as his model, for his reviews in fanzines and then for reviews in professional sf magazines, and so did James Blish, who chose to write his criticism under the pseudonym William Atheling, Jr. (after Ezra Pound's use of "William Atheling" for his own critical work...in its turn a reference to an historical figure among English royalty).


Donald Wollheim, one of the few members of the Futurians (slightly) older than Pohl (and the primary rival of Pohl's in the factionalism that developed in the Futurian Society) had published before Pohl, but became an editor afterward, and for an even less-well-bankrolled publisher...and his critical writing was somewhat less prominently published, as he focused on his editorial and publishing career. For that matter, Pohl never published a volume of critical writing, while Wollheim restricted himself to the survey The Universe Makers, a chatty review of broad themes published in 1971. Pohl has contributed to various anthologies of critical writing over the years, such as those edited by R. Bretnor, and had a column, "Pohlemic," devoted to criticism of literature among many other things as they occurred to him in the magazine Algol, later Starship, in the 1970s.


But Knight and Blish published books of their critical writing early on, Knight winning the first Hugo Award for nonfiction with the 1956 first edition of his In Search of Wonder, and Blish as Atheling, Jr. following up in 1964 with the first of what would eventually be three volumes of his collected critical writings, The Issue at Hand, both these volumes published by the small house devoted to sf criticism and historical writing, Advent: Publishers.

Advent is for the most part sustained these days by the NESFA Press, the New England SF Society imprint that grew out of the MIT-based fan group responsible for a wide range of Boston-area fannish activity, including the Boskone conventions, and the books in tribute to Boskone guests. Thus a relatively early NESFA Press publication, collecting the historical and critical essays of the third magazine editor to come out of the Futurians, Robert A. W. Lowndes, who published the contents of his The Three Faces of Science Fiction as editorials in his 1960s magazine Famous Science Fiction; despite some impressive reprints and new fiction in that Very low-budget magazine, Lowndes's essays were often the highlights of a given issue.


So...amidst a slow trickle, at first, of critical and historical works about sf beginning to appear in boards, beginning with Lloyd Arthur Eshbach's anthology of essays Of Worlds Beyond and J. O. Bailey's augmented PhD thesis Pilgrims in Time and Space in 1947, about half up through the early '70s had come from the ex-Futurians noted here...and these were among the most important books of my early reading...along with autobiographical and biographical works that these folks, and such fellow ex-Futurians as Judith Merril and Dave Kyle, would write and have published (most in the 1970s), along with those who were influenced heavily by the work of these folks (including Joanna Russ, to some extent Ursula K. Le Guin, Barry Malzberg, Robert Silverberg, Brian Aldiss and particularly Algis Budrys, all of whom produced their own collections of critical writings that have been covered by others and/or myself in this series of FFB posts). As Budrys would note in the 1970s, Blish brought a better literary (and, as a student of music and Shaw's criticism, critical) education to the task, but Knight was even better at stating clearly and forcefully his technical and other sorts of assessment of a given work. All, however, are valuable, particularly when compared to such lesser work in the same vein as that offered by Sam Lundwall and Alexei Panshin, among many others who followed the pioneers...or Sam Moskowitz, who attempted to do important work contemporaneously with these folks, and sometimes did so well, but usually didn't.


For more, and probably more amusing and fully-realized, examples of today's choices of books, please see Patti Abbott's blog.

Friday, August 19, 2011

FFB: the critical legacy of the Futurians...

Frederik Pohl is credited with getting it all going, sort of. He was the young editor of Astonishing Stories and Super-Science Stories, nineteen when he started in 1940. His magazines were published by the discount line, "Fictioneers," of the Popular Publications pulp house...so he was getting less per week than the lowest-paid secretaries at Popular, and was expected to write for his own magazines. One way he did so was in writing book reviews...and, unusually for the pulps, he took his best shot at applying technical literary criticism to the books under discussion. Slightly younger member of the NYC-based sf-fannish group the Futurians (which included Pohl) Damon Knight took that as his model, for his reviews in fanzines and then for reviews in professional sf magazines, and so did James Blish, who chose to write his criticism under the pseudonym William Atheling, Jr. (after Ezra Pound's use of "William Atheling" for his own critical work...in its turn a reference to an historical figure among English royalty).


Donald Wollheim, one of the few members of the Futurians (slightly) older than Pohl (and the primary rival of Pohl's in the factionalism that developed in the Futurian Society) had published before Pohl, but became an editor afterward, and for an even less-well-bankrolled publisher...and his critical writing was somewhat less prominently published, as he focused on his editorial and publishing career. For that matter, Pohl never published a volume of critical writing, while Wollheim restricted himself to the survey The Universe Makers, a chatty review of broad themes published in 1971. Pohl has contributed to various anthologies of critical writing over the years, such as those edited by R. Bretnor, and had a column, "Pohlemic," devoted to criticism of literature among many other things as they occurred to him in the magazine Algol, later Starship, in the 1970s.


But Knight and Blish published books of their critical writing early on, Knight winning the first Hugo Award for nonfiction with the 1956 first edition of his In Search of Wonder, and Blish as Atheling, Jr. following up in 1964 with the first of what would eventually be three volumes of his collected critical writings, The Issue at Hand, both these volumes published by the small house devoted to sf criticism and historical writing, Advent: Publishers.

Advent is for the most part sustained these days by the NESFA Press, the New England SF Society imprint that grew out of the MIT-based fan group responsible for a wide range of Boston-area fannish activity, including the Boskone conventions, and the books in tribute to Boskone guests. Thus a relatively early NESFA Press publication, collecting the historical and critical essays of the third magazine editor to come out of the Futurians, Robert A. W. Lowndes, who published the contents of his The Three Faces of Science Fiction as editorials in his 1960s magazine Famous Science Fiction; despite some impressive reprints and new fiction in that Very low-budget magazine, Lowndes's essays were often the highlights of a given issue.


So...amidst a slow trickle, at first, of critical and historical works about sf beginning to appear in boards, beginning with Lloyd Arthur Eshbach's anthology of essays Of Worlds Beyond and J. O. Bailey's augmented PhD thesis Pilgrims in Time and Space in 1947, about half up through the early '70s had come from the ex-Futurians noted here...and these were among the most important books of my early reading...along with autobiographical and biographical works that these folks, and such fellow ex-Futurians as Judith Merril and Dave Kyle, would write and have published (most in the 1970s), along with those who were influenced heavily by the work of these folks (including Joanna Russ, to some extent Ursula K. Le Guin, Barry Malzberg, Robert Silverberg, Brian Aldiss and particularly Algis Budrys, all of whom produced their own collections of critical writings that have been covered by others and/or myself in this series of FFB posts). As Budrys would note in the 1970s, Blish brought a better literary (and, as a student of music and Shaw's criticism, critical) education to the task, but Knight was even better at stating clearly and forcefully his technical and other sorts of assessment of a given work. All, however, are valuable, particularly when compared to such lesser work in the same vein as that offered by Sam Lundwall and Alexei Panshin, among many others who followed the pioneers...or Sam Moskowitz, who attempted to do important work contemporaneously with these folks, and sometimes did so well, but usually didn't.


For more, and probably more amusing and fully-realized, examples of today's choices of books, please see Patti Abbott's blog.