Hertz: Classics of Science Fiction
at Westercon

By John Hertz: We’ll discuss three classics at Westercon 66, one discussion each.  Come to as many as you like. You’ll be welcome to join in.

For our starting definition, “A classic is a work that survives its own time. After the currents which might have sustained it have changed, it remains, and is seen to be worthwhile for itself.”

One author from England, three from the United States; one woman, three men; one outside our field, three among us. Two stories from almost the same time, one a decade earlier. Each seems to be a love story; but is any of them?

Each may be more interesting today than when first published. Have you read them? Have you re-read them?

Ian Fleming

Moonraker (1955)

Nothing like the Moonraker came for two more years; even then the R-7 and Atlas couldn’t burn hydrogen – fluorine. At Boskone 50 our discussion flamed with inquiry whether this story is s-f. What about the craftsmanship? What about the denouement of Gala Brand?

Henry Kuttner & Catherine Moore

“Vintage Season” (1946)

Haunting, careful, penetrating, it’s often anthologized. It’s been attributed mainly to Moore, but both said that after they married they wrote everything together; for this one they used the name Lawrence O’Donnell; some call it their best. What makes them different from their symphonist Cenbe?

Jack Vance

To Live Forever (1956)

Vance preferred to entitle it Clarges, and maybe we should; it seems easier to find now under the infinitive. Compared to The End of Eternity (Asimov, 1955), or The City and the Stars (Clarke, 1956), it may not be forever; maybe they ought to be compared, they resonate. As usual, the language is brilliant, and the book is full of sparks.

Hertz: The End (of DUFF Voting) Is Near

By John Hertz: Dave Cake and I, the DUFF (Down Under Fan Fund) Administrators for Australia – New Zealand and for North America, respectively, remind you that votes for the 2013 DUFF delegate must be received by midnight 10 June.

DUFF sends fans between ANZ and NA, alternating directions each time. The 2013 delegate will attend LoneStarCon III, the 71st Worldcon, 29 Aug – 2 Sep 13, San Antonio, Texas.

Candidates were announced and voting opened at the end of April. I sent a few hundred ballots by paper mail; Dave posted an electronic version.

http://www.difference.com.au/fandom/duff2013.pdf

Anyone active in fandom on or before 1 Jan 13 may vote. “Active in fandom” means a natural person involved in fannish pursuits in our community, such as participation in clubs or conventions or fanzines, singing, costuming, social life, physically, electronically, or otherwise.

DUFF is supported by donations. Include with your vote a donation of at least $5 Australian, Canadian, United States; or $7 New Zealand.  You may donate by paper mail or PayPal; the ballot explains. It explains the rest of this stuff too.

If you’ve already voted, thanks! If you haven’t yet, don’t miss the boat! That’s Courtney’s boat; know who sawed it? H. Warner, Jr., A Wealth of Fable p. 164 (1992).

Hertz: Moskowitz to Eaton, $250 to DUFF

home_eaton-collection-hours_columnBy John Hertz: An anonymous donor has given DUFF $250 to send a rare copy of Sam Moskowitz’ Immortal Storm to the Eaton Collection.

SaM chaired the first World Science Fiction Convention. Besides his fan activity he edited a Gernsback magazine, wrote s-f, anthologized, and was generally a force of nature.

The Immortal Storm is his history of s-f fandom from the 1920s to World War II. Its title indicates its impassioned style. It remains indispensable.

This copy is from the limited mimeograph edition of 1951, after the Storm burst in Langley Searles’ Fantasy Commentator, before the 1954 hardback. A knowledgeable collector has estimated it is in Very Good condition.

DUFF the Down Under Fan Fund, like TAFF the Trans-Atlantic Fan Fund, sends fans on long-distance visits. TAFF began in 1953, DUFF in 1972, others followed, all sustained by donations. DUFF goes between North America and Australia – New Zealand.

Eaton, the world’s largest publicly accessible holding of science fiction, fantasy, and like that, is located at the Riverside campus of the University of California.

Last year Chicon VII the 70th Worldcon, at Chicago, had as is customary an auction to benefit the fan-travel funds. It was held in the exhibit hall, next to the Fanzine Lounge.

Some items came too late to be auctioned and will have to be used for raising money otherwise. One was this copy of Storm from Bob Passovoy (with his wife Anne, Fan Guests of Honor at Chicon VI) who could not get to the con that day but wanted to support DUFF.

Speaking as DUFF’s North America Administrator, I do not consider DUFF or its sister funds sell things.

As an Englishman once said, the exchanges which take place are measures of mutual assistance rendered by friends, in a spirit of confidence, sympathy, and good will.

A copy of this edition of Storm shows how physical production can be informative. It illustrates the art of mimeography.

The texture of the paper, the color of paper and ink, the appearance of typewriting, done by hand, teach what amateur publishing was sixty years ago, even to someone who may never have practiced slipsheeting or worked at a collating party.

Dr. Melissa Conway, head of Special Collections & Archives at U.C. Riverside and thus of Eaton, says the Storm has arrived.

Artifact as well as thought is elemental to history.

Classics of SF at Boskone

Going to Boskone/? John Hertz as Special Guest will lead discussions of three SF Classics; here are his notes so you can read up.

We’ll take up three classics at Boskone 50, one discussion each.

Each of our three is famous, each in a different way.  Each may be even more interesting now than when it was first published.

Our working definition is, “A classic is a work that survives its own time.  After the currents which might have sustained it have changed, it remains, and is seen to be worthwhile for itself.”  If you have a better definition, bring it.

Come to as many as you like.  You’ll be welcome to join in.

Philip K. Dick

The Man in the High Castle (1962)

This won Dick’s only Hugo.  The Allies lost World War II; Nazi Germany con­trols the east of North America, Imperial Japan the west, where the story is mostly set.  Avram Davidson said “It’s all here, extrapolation, suspense, action, art philosophy,” and if the likes of us dare add to him, endless resonances, for example falsehood.

Ian Fleming

Moonraker (1955)

Nothing like the Moonraker came for two more years; even then the R-7 and Atlas couldn’t burn hydrogen – fluorine.  Science fiction all right.  Can James Bond take it?  What can we learn?  Could this be among the rare craftsmanly s-f from authors outside our field?  What about the denouement of Gala Brand?

E.E. Smith

Galactic Patrol (1937)

Here we first meet Boskone and the Lens; prequels and sequels followed.  Samuel Johnson said the essence of poetry was invention; Patrol has that; its vitality, and its focus through all the coruscations, are remarkable.  Characterization?  If you think Worsel is painted too explicitly, look at Kinnison’s leaving footprints all over Blakeslee

Hertz: Loscon LoCs and LOLs

By John Hertz: Loscon is the L.A. local convention, held annually over U.S. Thanksgiving Day weekend. Loscon XXXIX was at the Int’l Airport (LAX) Marriott, 23-25 Nov; attendance 1,100; Art Show sales $8,500 by 45 artists.

Fan Guests of Honour were lovable Canadians Lloyd & Yvonne Penney, he known for letters of comment to seemingly every fanzine.

It was the Jack Benny Loscon. Fans of that great comic (not just alive while he was; do you read Sherlock Holmes? The Tale of Genji?) know his stage personality was always 39. This running gag was so strong that when eventually a 40th Birthday party was held for him, covered by radio and television, it didn’t stick, and within months everyone was joking again he was 39.

Benny, on stage a master of the straight face, in private life was known for cracking up. George Burns made him laugh so hard he had to get down on his knees and pound the floor.

And you thought I couldn’t do that title.

I moderated two panels about the Eaton Collection of s-f, U. Cal. at Riverside: on what it was and how to use it, in person, by paper mail, by its Website <eaton.ucr.edu>; on the treasure of the year, Jay Kay Klein’s photos, which went to Eaton at his death.

Klein was the photographer of science fiction. He shot fans and pros (and wouldn’t you like to –) everywhere. His photos were in Analog and Locus and con program books and Hugo ceremonies. He left 70,000; luckily, thanks partly to Alex Eisenstein and others who started reminding him in the 1970s, well indexed.

Melissa Conway the head of Special Collections including Eaton, and Julia Ree from Rivera Library where it lives, told stories, answered questions, and showed pictures. Ruth Jackson the University Librarian was in the audience. Conway had gotten to know Klein through this adventure, an amazing astounding fantastic man.

Chris Garcia in the audience noted that with constant computer changes “ephemeral” has a new meaning. I said a library was a time machine.

Friday night I had go off-site after Regency Dancing but I ate Keith Kato’s chili and saw Paul Turner in a dinner jacket. I had changed clothes by then so he was better dressed than I. He found Greg Benford and Larry Niven and got an autographed Bowl of Heaven. Mike Willmoth was genial at the Phoenix for ’14 NASFiC bid party.

Saturday afternoon, “Real Aliens” with David Brin, Niven, Phil Osborn, Philip Proctor, Jonathan Vos Post. Proctor in his years with the Firesign Theater had experiences, some alien. Osborn said he was an alien. Brin collecting the top theories (including “ain’t none”) called his new novel Existence. To some of them, if true, his answer would be “Send us your parents.”

On the Art Show desk was a Lego kit for Hayabusa, the heroic Japanese space probe that brought back asteroid dust. Selina Phanara brought colored-paper tiki gods, which sold. My favorite Mary Jane Jewell quilt, “Nap Time” with space ships strictly according to Hawaiian pattern, each ships’ porthole lit but one, is still over her fireplace so if you want to buy it you’d better ask her. Room was somehow found for Elizabeth Berrien’s wondrous wire sculpture.

In the Dealers’ Room, Alice Massoglia and I compared notes about the Leo & Diane Dillon exhibit at Chicon VII she’d helped with. In the hall, Dave McCarty said he didn’t know why his Hospitality Suite had no Jay’s potato chips. Ten years to learn.

At the Kansas City for ’16 Worldcon party Chaz Baden in a dinner jacket was clean-shaven 1930s style. Under a big sign The password is “goats” (the Pendergast faction of the time) he asked entrants if they knew the password. When they said no, he told them.

Helsinki for ’15 Worldcon chair Eemeli Aro had come himself and hosted the Helsinki party. He quite properly served Finn Crisps, chatting with people and handing out herring. Deirdre Saoirse Moen served mulled wine from a wooden tub. Jim Glass talked with me about s-f classics. Burroughs’ John Carter books, he said, have drama.

Sunday afternoon, “The Contract Between Reader and Writer”, Maria Alexander, Tim Powers, Mike Shepherd Moscoe. Powers said “As a writer I owe readers everything. As a reader I give no slack.” Shepherd Moscoe said, “What about being unpredictable?” From the audience, “What about ‘red herrings’?” I said, “I think we want to be fairly snookered.” Alexander said, “George Martin is making bank on killing people you like.” From the audience, he’s signaled all those people will die. Another, because Psycho changed focus Hitchcock made theaters turn away anyone coming late.

Chores, a little sleep, the Dead Dog Party. There was Kate Morgenstern whom I hope to see in more Masquerades, and plenty of conversation, and Roche & Trembley the ’13 Westercon chairs who’d been active party hosts, and Aro chatting with people and handing out herring.

Hertz: C. Ross Chamberlain Wins 2012 Rotsler Award

By John Hertz: C. Ross Chamberlain of Las Vegas has won the 2012 Rotsler Award, given for long-time artistic achievement in amateur publications of the science fiction community. Established in 1998, the award carries an honorarium of US$300.

Chamberlain is an adept humorist known for graceful line and eye-catching composition.

As a good artist he makes use of available technology. In the days of mimeography he was masterly with stylus and shading plate. Now he works marvels with Photoshop.

The Rotsler Award is sponsored by the Southern California Institute for Fan Interests, a non-profit corporation, which in 2006 hosted the 63rd World Science Fiction Convention. The award is named for the late Bill Rotsler, a talented and prolific artist over many years. Claire Brialey, Mike Glyer, and John Hertz are the current judges.

The award was announced on Saturday, November 24, 2012, at Loscon, the annual Los Angeles SF convention. This year’s convention was Loscon 39.

For more about the Rotsler Award, visit www.scifiinc.org/rotsler/.

Hertz: Cave Canem

By John Hertz: Fans of our Publius and fans of WOOF might like to see what he almost got into No. 37 at Chicon VII, reprinted by permission from Always Going Home 10:

I started a contribution for the World Order Of Faneditors collation, but proved unable to finish it in the time available. Herewith is presented the opening paragraph, in Latin as seemed fitting. I am not satisfied with the quality of the language, but it should be clear enough, I think.

Vero felix est congredere septimo in hanc Chicago, urbem alabastron carminae. Felix est autem amor philosofabularum atque amicitia communa, quia annuale a partibus remotis mundi conveniamus. Nonne est hoc congressum nostrum rei publicae litterarum pars plusquam benedicta? Et quis plus benedictus quam nos amateditores, cordes & venae illius corresponsus quae circulatio sanguis huius corporis est? Quapropter, donec rationem melioram habeamus, gaudiamus & iubiliamus.

It may be seen that I forebore to decline “Chicago”. I thought to render “World Science Fiction Convention” by Congressum Universale Philosofabularium, & “World Order Of Faneditors” by Ordo Amateditorium Mundi, which I hope will prove at least not terribly displeasing. For aught I know, there may be standard equivalents, as I suspect there are in Esperanto, given the well-known association of that language with fandom.

At the moment that’s the extent of my permission, though I believe I may say you can get “The Airship, a Summary for Writers” (12 pp. including glossary & a note on “lifting gas”), adapted from the standing-room-only panel he moderated “Airships, the Reality” with Howard Davidson, Lisa Hayes, David Malki, Joseph P. Martino – in case you were attending the Nielsen Haydens’ Kaffeeklatsch, or the Murray Leinster panel, or “The Secret History of Science Fiction”, or Mary Robinette Kowal’s reading, or “Fans and Academics” with Betty Hull, or my Art Show tour – it was a Worldcon, right? – from him at P.O. Box 1035, Fort Worth, TX 76101 U.S.A., or publius@lunarcc.org.

Hertz: Two Chicon Exhibits

Leo & Diane Dillon Exhibit

Chicon 7 exhibit about Leo and Diane Dillon. Photos by Richard Lynch.

By John Hertz: In May when Leo Dillon died I felt that Chicon VII (officially “Chicon 7” for the Mercury 7 astronauts) really ought to have an exhibit honoring the Dillons’ work, two of our finest illustrators over fifty years.  I found nobody else was yet planning one.  I got valuable advice from Vincent Di Fate and Jane Frank.

Mark Olson had the swell idea of displaying books the Dillons had done.  Alice Massoglia rounded up two dozen decent-quality reading copies – not collectors’ copies, I wanted to let people pick them up and look through them.  A good handful of Harlan Ellison books, issues of Fantasy & Science Fiction with Dillon covers, the Byron Preiss collection, 20,000 Leagues Under the Sea with their cover and interiors, Ashanti to Zulu which won one of their Caldecotts (and reminded me of my Nigerian drum teacher), Pish, Posh, Said Hieronymous Bosch which they did with their son Lee, the hundredth-anniversary Wizard of Oz, some Lafferty, The Snow Queen, and a host of others reached me in Los Angeles, were sent on to Chicago, and arrived safely.

Elizabeth Klein-Lebbink resplendently with her electronic powers made three banners, one for the top with “Art of Leo and Diane Dillon” and a color photo, one mounted under that and one mounted on the front of the display table with images of every shape and size, some we had physical examples of and James Baldwin, Martin Luther King, Shakespeare, Mark Twain.

Richard Lynch took photos so you can see how it looked.  This involved his climbing onto a chair on top of a table muttering “This is stupid, this is stupid” while Nicki across the Exhibit Hall wondered.

Richard also helped me put up the Rotsler Award exhibit and photographed that for you.  My guide through various spacetime problems with it was Randy Smith, as ever a big help.  All three judges, Claire Brialey, Mike Glyer, and I, were at the con, but no more than two of us ever managed to be in the same place.  If we all had, that might have popped Dave McCarty into the 14th Chorp Dimension.

Which reminds me, Dave, what happened to the Jay’s potato chips?

Dillon exhibit.

Dillon exhibit table display.

Rotsler Award exhibit at Chicon 7.

John Hertz.

Hertz: Some Tweet, Some WOOF

By John Hertz: The ever-lovin’ Chris Garcia will host the Fanzine Lounge at Chicon VII (2012 Worldcon). While he’s at it he’ll be Official Editor of WOOF.

WOOF, the World Organization Of Faneditors, is an apa (Amateur Press Ass’n) collated annually – yes – another product of Bruce Pelz’ imagination – at the Worldcon. This year’s will (I think) be WOOF 37. The 2011 OE was Randy Byers. The 2010 OE was Alan Stewart.

Garcia’s own fanzine is The Drink Tank. He’s part of Journey Planet too. He was the 2008 Trans-Atlantic Fan Fund delegate. He gets my IBM 1620 jokes (one of which is really Alan Frisbie’s).

His E-mail address – Lee Gold calls them edresses – is <garcia@computerhistory.org>. Or call me (213)384-6622 for his real-mail address.

Do you suppose WOOF will have a Selina Phanara cover?