Showing posts sorted by relevance for query wollheim. Sort by date Show all posts
Showing posts sorted by relevance for query wollheim. Sort by date Show all posts

Friday, July 3, 2015

FFB: THE MEN FROM ARIEL by Donald A. Wollheim (NESFA Press 1982)

A collection of the more obscure short fiction by the writer, editor, publisher and man-about-fantastic fiction Donald A. Wollheim:

 courtesy the Homeville/Locus indices, with corrections:
    The Men from Ariel Donald A. Wollheim (NESFA Press 0-915368-19-6, 1982, 116pp, hc) cover illustration by Michael Whelan; book design by D. Christine Benders
Wollheim has been one of the most important editors in the history of fantastic fiction, and one of the most durable. As he notes in the prefatory matter for this slim volume, published as a convention commemorative by the New England SF Association and their NESFA Press on the occasion of Wollheim's selection as Guest of Honor at their annual "con" Boskone, he was briefly, back in the 1930s when fandom was small and easy to poll, the most popular fannish personality, soon to lose that honor back to Forrest J Ackerman. Although Wollheim had participated in some proto-fannish International Scientific Association activities (most notably some mildly stunty experiments in model rocketry), he notes he first grew active in fandom as it was coalescing in 1934 because Wonder Stories publisher Hugo Gernsback was putting off paying him for his first published short story, "The Man from Ariel", and Wollheim wondered if he was the only writer so deprived. It turned out that he wasn't, and he and a number of other contributors to the Gernsback magazines sued and received a lump sum settlement.  This led fairly directly to Wollheim co-founding the fannish group the Futurians, which included a remarkable number of the budding writers, editors and artists in sf and fantasy in New York City at the time, and moving onto his early editorial achievements: editing and publishing the early major fanzine The Phantagraph, the early "semiprozine" Fanciful Tales and, in 1941, editing the no-budget pulp magazines Cosmic Stories and Stirring Science Stories (which along with Frederik Pohl's Astonishing Stories and Super-Science Stories and Robert Lowndes taking over at Columbia Publications' Science Fiction and its stablemates, were the first newsstand magazines dominated by and showcasing the work of the Futurians).  But even more important than this, Wollheim was able to publish, in 1943, The Pocket Book of Science-Fiction, and follow that with, for Viking Press, the Portable Novels of Science (1945--note that the term sf still at that point seemed an odd neologism to Viking and their editors at the Portable series)...two of the earliest widely-distributed volumes to package sf for an adult audience under that rubric; the Pocket volume was hugely popular. 
In 1947, he began editing for Avon Publications, while there publishing the first anthology of original fantastic fiction in mass-market paperback:
...and founding anthology series/all but magazines the Avon Fantasy Reader and the Avon Science Fiction Reader, and the more no-bones-about-it and less durable magazines Out of This World Adventures (the first pulp sf/fantasy magazine to have a full-color comics component bound into the middle of the two published issues) and 10 Story Fantasy (where the only issue famously included eleven stories...one of which was the first version of "The Sentinel", the seeds of what Arthur C. Clarke and Stanley Kubrick would develop into their respective versions of 2001: A Space Odyssey). Wollheim would edit and/or publish, aside from the cited volumes and "magabooks" above, a large number of the earliest horror-fiction anthologies in mass-market paperback as well, beginning at Avon. 

 In 1952, Wollheim left Avon to become the primary editor for Ace Books, where he would remain until 1971, when he left the failing Ace (mismanaged by its new owners) to establish DAW Books in partnership with the New American Library, which he would edit for and run till shortly before his death in 1990. At Ace and DAW, he did much of his most enduring and important editorial work, providing the most consistent program of sf, fantasy and to some extent horror publishing in those decades, often innovatively if not, while at Ace, necessarily with the most generous of budgets or payment to writers. (While at Ace in the mid 1960s, he also brought on Terry Carr as an assistant editor, who helped Ace go onto further important work, not least with the Ace Science Fiction Specials imprint).  Wollheim, as he notes in the book we soon return to, was also one of the, if not the, most prolific editor of western books in the U.S. for most of his time at Ace, as well as handling their contemporary mimetic fiction and nurse/romance lines; Carr would be the primary editor for Ace Gothics, which helped make that category a major force in paperback publishing in the latter 1960s and early 1970s.  At DAW, Wollheim continued and broadened his approach to providing a range of work in fantastic fiction, from straightforward adventure fiction through some rather literarily ambitious writing, and a continuing interest in international writers and their work. 

 Throughout these years, Wollheim never considered writing his primary occupation, and (his daughter and successor at DAW, Betsy Wollheim, notes) he tended to be modest about his fiction. But, nonetheless, he was an engaging writer, often likely to write (in his adult work, rather than his YA novels) vignettes with an abiding sense of strangeness to them; "The Man from Ariel" (as in the moon of the planet Uranus), his first story as noted above, is certainly in this mode: the narrator encounters, on a misty night, a hapless astronaut from a humanoid civilization on the distant moon, who manages through a sort of telepathy to convey his (as Wollheim calls him) adventure in attempting to orbit Uranus, but through miscalculation slingshotting his craft in toward the Sun, and happening to crash-land on Earth...but at least somewhat triumphant that he was able to share his experience, as he dies of crash-related injury, with an intelligent alien on this blue planet. Not too shabby, even if it hadn't been written by a 19-year-old in 1934.  His most famous stories (included in his first collection), "Mimic" (the source of the film) and "The Rag Thing," are more explicitly sf-flavored horror (Wollheim was a great admirer of Lovecraft), but otherwise share a sense of atmosphere and an elegantly deliberate build of their strangeness, even as they improve on his early work.

"The Lost Poe" is a Lovecraftian approach to the tale of a cursed story, that compels self-destruction not only to originator Edgar Allan, but to anyone who reads it.  "Who's There?" is a nice horror vignette, with a different sort of "slingshot" ending; it seems odd that Wollheim had difficulty placing either of these stories, which saw first publication in this book, but he does take the opportunity to bemoan how sparse the market for fantasy and horror short fiction could be throughout the first two decades of his editorial career.  "The Hook" was inspired by the experience of an LA-based sf/fantasy fan, which Wollheim almost certainly correctly suspects also inspired Ray Bradbury's contemporaneously-published "The Long After Midnight Girl"...in Wollheim's story, he deals sensitively, if a bit tentatively, with the confusing transvestite desires that torment the insecure young male protagonist; Ed Wood and Eddie Izzard probably would approve. It's also notable that both the Wollheim and Bradbury were published originally in short-lived erotica magazines...despite being not so much erotic as about tragedy around sexual anxiety.  "Still Life" was a mild favorite of Wollheim's among the filler stories he wrote for his Avon colleagues' comic books (to get magazine postage rates for subscriptions, comic books at least through the 1950s needed to run all-text items, usually very trivial vignettes, as part of every issue's content; Patricia Highsmith and Mickey Spillane are among the most famous writers to have begun their professional careers doing this kind of writing in
half of an Ace Double, by
(Ms.) Lee Hoffman
bulk)...Wollheim wasn't sure which comic published it, and my quick and dirty search of Avon horror comics posted online, at least, didn't turn it up. "Colt Cash Cache" is a pleasant if unremarkable western story, which Wollheim placed with one of Robert Lowndes's Columbia western pulps, with a mostly guessable twist ending, but some nice detail. "Miss McWhortle's Weird" is, as Wollheim proclaims in his headnote, a bit of a poison-pen parody of Dorothy McIlwraith, the third editor of Weird Tales (and simultaneously editor of Short Stories magazine); Wollheim counts himself as among those who preferred WT as run by her predecessor, Farnsworth Wright (I vastly prefer McIlwraith's issues), but Wollheim's lampoon seems a little double-edged: "They [the writers favored by Wright's correspondent among the characters here] took such unbearably long times to get started, they were always long-winded, sometimes they would toil over the most trivial points, and they wrote nasty letters about any editing that had been done." This can be seen as both exemplary of the philistinism of the McIllwraith analog (and her model), and as an utterly accurate complaint about the general tenor of Wright's magazine.  Though perhaps it's notable that Wollheim placed this story with August Derleth, a veteran contributor of all three WT editors of the original magazine's run, and his magazine that was a bit of a legatee of the Weird Tales geist, if less so than Derleth's earlier, more elaborate The Arkham Sampler.

 Wollheim continues in the double-edged mode for the balance of the stories here; his parody of Lovecraft, the most enduring star of Wright's issues, rather hilariously has every other character as well as the narrator endlessly, imprecisely referring to sinister things they cannot, Dare Not go into nor describe at this time; this one went to another 1960s heir to WT, Lowndes's Magazine of Horror.  "Ishkabab" and "The Rules of the Game" are both rather acute, if slightly belabored, critiques of imperialism that seem to have rather casual bits of seemingly unconscious racism built in...until one recalls that the narrative voice in both cases is that of an observer less sophisticated than he seems to think himself.  The North American reporter in Guyana in the latter story, particularly, is keen to pat himself on the back to a remarkable degree; he fumbles the relation between tides and seismic shifting rather completely, while otherwise proving to be a bit of a dolt, so one is inclined to suspect that Wollheim is trying to demonstrate just what a dolt he is. This story was originally slated for The Last Dangerous Visions, and the dangerous part might well be not just the mockery of the imperialist mindset
but the embrace of Immanuel Velikovsky's doubletalk as legitimate theory about Biblical and other old accounts of improbable events. Wollheim suggests that this might be his last short story, as he hadn't written any more by 1982 in the eleven years since Harlan Ellison demanded revisions, so Wollheim, happy with it in the current form, placed it with New Writings in SF instead; and the evidence of ISFDb's list of publications (showing only the trunk stories published in this volume, and collaborations probably also dating back some decades with Ackerman and the long since late C. M. Kornbluth appearing after "Rules") suggests that Wollheim's prediction was correct...thus this book includes both his first and last stories.
That Joan Aiken...and a gothic with
a review blurb...

 I've been posting this In Progress as I've been writing it over the course of the morning, and George Kelley commented on perhaps the first half, that Wollheim might have been the most influential single editor in sf (and, as I've suggested above, he wasn't altogether uninfluential in the fields of horror, fantasy and even western fiction, as well as a collaborator in the explosion of neo-Gothic romance a quarter-century ago. He was a sustained and eclectic editor (tempered by pragmatism), having been a major market for Philip K. Dick, John Brunner, Ursula K. Le Guin and others. Backhandedly, the Ace edition of The Lord of the Rings (taking advantage of the fact it hadn't been properly copyrighted in the U.S.) helped draw attention  to the trilogy and to J. R. R. Tolkien at the beginning of the steep uptick in his popularity. And, as I mentioned in my response to George, the Futurians (a fan group which was breaking up as they moved into their professional roles at the cusp of the 1940s and particularly World War II) provided a relatively sophisticated, if relatively inexperienced and often underfunded, challenge to John Campbell's artistic vision of sf and fantasy (in his other magazine, Unknown, later Unknown Worlds) in that period, as well as to Dorothy McIlwraith's new broom at Weird Tales, starting in 1940.  At that point, the other sf and fantasy magazines on the stands had their audiences, but (with the exception of F. Orlin Tremaine's shortlived Comet and, to an ever-increasing extent over the decade, Mary Gnaedinger at Famous Fantastic Mysteries), Ray
Palmer's Amazing and Fantastic Adventures, the new Planet Stories, Mort Weisinger's Thrilling Wonder Stories and its stablemates (with the weak exception of Strange Stories, which was WT watered down) were all aimed at relatively undiscriminating audiences, largely juvenile; the attempt at a "spicy" sf magazine in Marvel Tales and its stablemates, which were essentially "shudder pulps" with slightly less pseudo-horror flourish, might not've been as juvenile but were pretty sophomoric. The Futurian magazines, Pohl's, Wollheim's and Lowndes's, all were seeking to replicate the best of what they found in Campbell's magazines, but also brought a slightly broader artistic sensibility to the effort...if Campbell was an engineer by training and otherwise an autodidact and rather instinctive in his artistic choices, the Futurians were striving to become worldly intellectuals, and some degree succeeding. Their example, and the new post-War sobriety of the latter 1940s, probably also helped the sudden increase of sophistication of the Thrilling Group magazines, as editorial control was turned over to Samuel Merwin, Jr.; Howard Browne found it difficult to sustain interest in Amazing and FA, but did, with Fantastic and fitfully with the others, move in a more sophisticated direction with the Ziff-Davis magazines. Leigh Brackett and Ray Bradbury were joined by other artists of note as Jerome Bixby began editing at Planet Stories...and all this before or just as we saw the introduction of the clangorous new approaches with The Magazine of Fantasy (and Science Fiction, as it expanded with the second issue) and Galaxy in 1949-1950.  I'll probably have some more to say about these developments next week.

 Please see Patti Abbott's blog, for the list of this week's links to reviews.


The two front covers of an early Ace Double...one cover on each side of the book, and the
texts upside down in relation to each other
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Thursday, July 23, 2015

US newsstand speculative fiction magazines at the time of the debut of GALAXY: part 3

Part 1
Part 2
Part 4
Part 5/conclusion
Cover by Edd Cartier
Street and Smith Publications; 
John W. Campbell, Jr., editor
As Robert Silverberg's note in Part 1 suggests, readers and aspiring writers like himself were flabbergasted by the first year or so of Galaxy, not least by the new work by many of the writers who had written for Astounding SF who were able to take up new modes and topics unwelcome at the older magazine, as Campbell began to show signs of restlessness as editor of his magazine, in the lucky 13th year...he'd begun to start pushing fringe-science (at best) ideas on his more receptive writers, despite the "hard science" reputation and theoretical hard-sf aspirations of ASF. Writers such as Isaac Asimov and Alfred Bester wrote far less for Campbell in the 1950s, Bester particularly put off by JWC's advocacy for Dianetics, which gets its second ASF article in this issue. Theodore Sturgeon and Fritz Leiber, stars of both ASF and Campbell's long-folded fantasy magazine Unknown, also found other markets more receptive, not least Galaxy, F&SF, Weird Tales and Howard Browne at Fantastic Adventures and the other Ziff-Davis magazines. Barry Malzberg and Bill Pronzini, with their anthology The End of Summer, made a case that ASF was still a potent force in sf in the '50s (not least because of contributors such as Hal Clement, Mark Clifton, Poul Anderson and Campbell protege Algis Budrys, one of whose stories provided the title for the anthology, but even receptive writers such as former Futurian James Blish started to feel the strain of keeping Campbell happy through indulging his fascination with "psi" powers (telepathy, telekinesis, etc.--eventually even dowsing) and perpetual-motion machines and the like. Campbell had really loved his fantasy magazine, and there was an increasing amount of science fantasy running through ASF about that time, and reaching perhaps its most blatant expression in Randall Garrett's often excellent Lord D'Arcy stories in later years.  Meanwhile, stalwart ASF writers such as L. Sprague de Camp were also finding other markets as well in the '50s, but were still regular contributors to JWC's magazine...particularly if they didn't run afoul of another of Campbell's crotchets, that in any encounter, humans had to be played up as the most intelligent or otherwise superior species; this along with JWC's increasingly right-wing views...which didn't stop him from publishing radical leftists such as Mack Reynolds, but such classic ASF stories as Clifford Simak's "Desertion" and T. L. Sherred's "E for Effort" apparently started sticking in his craw after publication (and Reynolds would often publish his most explicitly political and economics-related stories in F&SF and elsewhere).
Contents
Cover by Milton Luros
Columbia Publications; 
Robert W. Lowndes, editor
Of all the former Futurian editors to take the desk at fiction magazines up through 1950 (including Frederik Pohl, Donald Wollheim, Damon Knight and, at romance magazines, "Leslie Perri"), Robert Lowndes was the only one to have his magazines last more than a handful of years, albeit publisher Louis Silberkleit, aka Louie the Lug in Futurian "in-house" fanzines, would suspend or combine titles readily, then spin them off again or revive them when circumstances looked more promising. Co-founder of Archie Comics (which made him a lot more money than the Columbia fiction magazines did), Silberkleit never wanted to pay more than a cent per word for the fiction and features in the sf/fantasy, crime-fiction, western, sports-fiction and other pulps and eventually digests Lowndes and a very few others would edit for him; Lowndes had become Science Fiction Stories and Future editor in 1941, when founding editor Charles Hornig was imprisoned for conscientious objection during WW2, and Lowndes would soon be editing most of the titles at Columbia, till the chain's folding altogether in 1960. In fact, I suspect that Lowndes might've eventually edited more fiction magazine titles than nearly anyone else, as he began to edit another slew of titles in the 1960s, beginning with the Magazine of Horror in 1963. In 1950, Columbia had just revived their sole sf title (they would have four by 1952, including the revived Science Fiction and Science Fiction Quarterly), and even with a paltry budget, Lowndes was receiving at least good stories from de Camp (the previous issue of Future includes another story from the same series as the October ASF cover story), along with stories from other ASF regulars. The time-honored tradition of tapping the other ex-Futurians for (at least) good (enough) copy continues here, with stories from Damon Knight and James Blish, Isaac Asimov, Walter Kubilius; future skin-magazine publisher Milton Luros does much of the illustration, including the cover, while former Astounding star George O. Smith contributes a novella; Smith and Campbell's first wife had fallen for each other,  and a divorce and marriage soon followed, putting serious strain on relations between Smith and JWC. Blish's commonly quoted metaphor about Lowndes's editorial work is that he was a master at "making bricks without straw." Lowndes's magazines were often home to experimental work, or stories that were problematic for other magazines (Lowndes published Philip "William Tenn" Klass's "The Liberation of Earth" after Galaxy had rejected it, fearing McCarthyite Red-baiting might follow its publication); Lowndes "discovered" at least two major writers in his 1950s magazines: Edward D. Hoch and Carol Emshwiller. 
Contents:
Stadium Publishing Co.; 
Robert O. Erisman, editor 
(Daniel Keyes, assistant editor)
It would probably be too much to say that publisher Martin Goodman was a protege of Louis Silberkleit (of Columbia, above), but Silberkleit did hire Goodman for his first job in the magazine industry, and with his help Goodman went on to found his own pulp and comics lines. 1938 saw the first issue of Marvel Science Stories, edited throughout its long-gap-ridden history by Erisman, with the assistance of the future author of "Flowers for Algernon" in the 1950 revival, which began almost simultaneously with Galaxy's appearance (possibly not a coincidence). Back in 1939, Goodman tried his first comic, which borrowed the pulp's title and was issued as Marvel Comics, the first expression of an eventual line of books now utterly obscure and totally forgotten, except when one contemplates a notable fraction of current US television drama and a rather larger proportion of the most popular films of the last decade. Given its graphic cousin's rather remarkable career, Marvel Science Stories had a rather marginal run in comparison, although it was notable as the first sf magazine to try to be mildly "spicy" (Henry Kuttner wrote a number of the contributions for those issues), and slightly later went full-bore "shudder pulp" for two issues, the only newsstand sf magazine to do so, so far (with the arguable exception of devolution of the late 1950s digest Saturn, with founding editor Donald Wollheim leaving when the publisher changed its title and nature into a minor hardboiled crime-fiction magazine, [briefly Saturn] Web Detective Stories, and then onto a revival of s&m "shudder" as Web Terror Stories). The 1950s revival didn't have quite so colorful a history; good contributors, usually, but not too much in the way of memorable fiction.
Contents

Cover by "R. Crowl"
Avon Publications; 
Donald A. Wollheim, editor 
And now back to Donald Wollheim, my review of whose collection of short stories led (along with my finally citing the Galaxy: 30 Years anthology) to this little survey series. Among Wollheim's tendencies as a book editor (the Avon Fantasy Reader and the eventual SF Reader companion were arguably digest-sized paperbacks) was his utter delight in coming up with lurid "commercial" titles, hence the name change on the Robert Howard story in this issue. The Fantasy Reader was in many ways Wollheim's attempt to continue (as well as reprint from) Weird Tales as it had been edited by Farnsworth Wright, rather than by his more modernizing successor Dorothy McIlwraith, and it was Wollheim's first (arguable) magazine with a fully professional budget. The Bradbury story was seeing its first US magazine/anthology appearance here, though it had already been published in Bradbury's collection The Martian Chronicles earlier that year (its first appearance, also earlier that year, had been in the Canadian magazine Maclean's). As this magazine (or book) was mostly but not entirely a reprint title, somewhat less ex-Futurian material appeared here than in most of the old gang's magazines, though some certainly did in other issues/volumes. 
Contents:

This one, conversely, was not only a no-bones-about-it magazine, it was also the first (among English-language newsstand fantasy/sf magazines, in any case) to try incorporating full-color comics into a pulp magazine format. This was the first of only two issues; despite the heavy overlap between the pulp and comics publishers, apparently there wasn't quite as much overlap between the various kinds of magazines' readers, or at least not enough to make this title a success. (You can read this issue online at Archive.org.) The notable ex-Futurian contribution here is the comics script by John Michel, who had a relatively short and troubled life and career; that the comics center-section had at least been planned as a standalone comic book is indicated by the presence of a prose vignette by Wollheim himself in its center, placed there as in most comics of its time and for many years after so as to get periodical mailing rates that comics without such text-only features were denied, for some reason. 
Contents
Indices and cover images courtesy of ISFDB and Galactic Central

...More to come...
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Friday, May 23, 2014

FFB: The Best from IF, Volume III edited by James Baen; World's Best Science Fiction 1970 and 1971 volumes, edited by Donald Wollheim and Terry Carr

Time for a few more examples of how the twig was bent...three important anthologies to me as a young reader. My father brought all three into the house, in the early/mid '70s, the two Wollheim/Carr annuals in their Science Fiction Book Club hardcover editions with the bold typography, the If magazine best-of in its only edition I've seen, published by the paperback arm of the magazine's publisher at the time, Award Books. These were fascinating anthologies to me, diverse and exposing a 10yo to a wide range of approaches to sf (11yo when the If book was published and arrived in-house), and to the life and matters around sf (the Hoagland and Geis and Del Rey columns in the If volume particularly). They didn't sweep me up as thoroughly as the "Alfred Hitchcock"-attributed anthologies I was reading in the same year or so, and as many as I could find, and the similarly eclectic horror anthologies I was reading (and humor, and so much else) were at least as influential and as eagerly devoured, but as I look at what I was dipping into with these, as well as with the other anthologies and collections my father would bring around along with what I could find on my own in booksales and libraries and even the increasingly frequent visits to actual bookstores, it's easy to see why I've remained an enthusiastic reader of the fantastic, and have perhaps an excessively nostalgic attraction to best-of annuals, even when I might disagree with the editors in question about their choices from a given year or run of issues...what they choose, and as much as they choose to share about how they chose, is often fascinating...beyond the quality of the work in question...while Terry Carr and Donald Wollheim weren't as eclectic in their annual as was Judith Merril or Harry Harrison  (increasingly in partnership with Brian Aldiss) with theirs, nonetheless the two Ace editors (in at least two senses) attempted to provide as diverse a cross-section of "true" sf as they could...and even though I've never much liked Alexei Panshin's fiction and "Waterclap" was disappointingly minor Asimov (particularly as I was already torn, as were the competing camps in the story, between passions for astronomy and oceanography), much of the rest ranged from eye-opening, to say the least (the Le Guin, the Richard Wilson, the Ellison, the Tiptree) to very funny indeed (Wilson and perhaps even more the Silverberg) and now I'm reminded where I first read such folks as Neal Barrett, and R. A. Lafferty, and Alice "Racoona"/"James Tiptree, Jr." Sheldon...the If volume mourned the passage of its source magazine, folded despite the strong revival it had experienced in sales under its young editor James Baen, and further gave me a lot of my earliest understanding of the writer/fan community around sf, as well as handing me not a few interesting stories as well. Not least what was probably one of  my first Fritz Leibers (along with "Ship of Shadows")... (Robert Arthur and Harold Q. Masur, hiding behind Hitchcock, had already introduced me to Theodore Sturgeon; Henry Mazzeo and Edward Gorey had already introduced me to Robert Bloch, among so many others...).

My immersion in fiction magazines, that could feed such wonderful fiction to such volumes as these (and the Hitchcock and horror and other anthologies I'd read), or the Best Detective Stories volumes (where Anthony Boucher's volumes, for example, weren't afraid to draw as far afield as upon Fantastic for a Ron Goulart story, or the Borges collection Labyrinths for examples of his work, which Boucher had been the first to translate into English and see published in Ellery Queen's Mystery Magazine in the 1940s) and others I was just beginning to find, was all but inevitable. Haven't shaken it yet.

Indices courtesy of Homeville:





The Best from If, Volume III ed. James Baen (Award AD1544, 1976, $1.50, 220pp, pb)
  • 9 · Midnight by the Morphy Watch · Fritz Leiber · ss Worlds of If Jul/Aug ’74
  • 35 · Plaything · Larry Niven · ss Worlds of If Jul/Aug ’74
  • 43 · A Little Night Flying [“Dark Icarus”; Rob Hasson] · Bob Shaw · ss Science Fiction Monthly v1 #4 ’74; If Aug ’74
  • 61 · Half-Baked Publisher’s Delight · Jeffrey S. Hudson & Isaac Asimov · ss Worlds of If Jul/Aug ’74
  • 69 · Mephisto & the Ion Explorer · Colin Kapp · nv Worlds of If Sep/Oct ’74
  • 111 · Following Yonder Star · Richard C. Hoagland · ar Worlds of If Nov/Dec ’74
  • 131 · Gut in Peril · Arsen Darnay · ss Worlds of If Nov/Dec ’74
  • 141 · Time Deer · Craig Strete · ss Red Planet Earth #4 ’74 (and reprinted in If)
  • 149 · The Alien Viewpoint · Richard E. Geis · ar Worlds of If Sep/Oct ’74
  • 163 · The Descent of Man · Judith Ann Lawrence · ss Worlds of If Nov/Dec ’74
  • 177 · Angel Fix · Raccoona Sheldon · nv Worlds of If Jul/Aug ’74
  • 211 · Reading Room · Lester del Rey · br Worlds of If Nov/Dec ’74

The World’s Best Science Fiction: 1970 ed. Donald A. Wollheim & Terry Carr (Ace 91357, 1970, 95¢, 349pp, pb)









The World’s Best Science Fiction: 1971 ed. Donald A. Wollheim & Terry Carr (Ace, 1971, pb)
For more of today's books, please see Patti Abbott's blog.
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