Pixel Scroll 11/19 The Endochronic Pixils of Resublimated Scrollotimoline

(1) Randall Munroe has a piece on The New Yorker blog called “The Space Doctor’s Big Idea”.  He’s explaining Einstein and relativity, but doing it with his cartoons and quirky humor.

The first idea is called the special idea, because it covers only a few special parts of space and time. The other one—the big idea—covers all the stuff that is left out by the special idea. The big idea is a lot harder to understand than the special one. People who are good at numbers can use the special idea to answer questions pretty easily, but you have to know a lot about numbers to do anything with the big idea. To understand the big idea—the hard one—it helps to understand the special idea first.

(2) Steven Barnes’ new book Star Wars Saved My Life: Be the Hero in the Adventure of Your Own Lifetime has been released. Amazon Prime members can borrow it free, all others pay cash!

SW Saved My Life COMP

It’s finally here! The book I’ve been hinting about for months, STAR WARS SAVED MY LIFE is the first self-help book ever written for science fiction fans, the LIFEWRITING system applied to healing finances, career, health, and the wounded heart. A pure work of love, available FREE to anyone with an Amazon Prime membership, it is my way of saying “thank you” to all of you who helped me find my way, gave me friendship, support, and love.

(3) Downthe tubes.net reports that Star Trek comic strips published in various UK comics and annuals back in the 1970s (and never in the US) will be republished in a collection next year.

In all, the British Star Trek ran for 257 weekly magazines spanning five years and 37 storylines and in addition to its weekly appearances, more original material drawn by Ron Turner, Jack Sutter, Jim Baikie and John Canning appeared in the 1969 Joe 90 Top Secret annual, the Valiant 1972 Summer Special, the 1971-1973 TV21 hardcover annuals and the 1978-1979 TV Comic annuals.

An original Frank Bellamy Star Trek strip also appeared in the June 27, 1970 issue of Radio Times to promote the show’s return to BBC1.

These strips have never been published in the United States and were not written with strict adherence to Star Trek‘s core concepts. The U.S.S. Enterprise frequently traveled outside our galaxy, and the crew committed many violations of the never-mentioned Prime Directive along the way. Spock shouted most of his lines and often urged Kirk (or “Kurt,” as his name was misspelled in early issues) to shoot first and ask questions later.

(4) Nancy Hightower’s picks for the “Best science fiction and fantasy books of 2015” at the Washington Post include one that hasn’t been heavily discussed here.

THE ONLY ONES

By Carola Dibbell (Two Dollar Radio)

This fascinating first novel details the emotional journey of Inez Fardo, a 19-year-old who has survived terrible trauma and yet still manages to find life sometimes wondrous. In a time when most of the population has been wiped out by a series of superviruses, she makes a meager living cleaning up contaminated sites. But when it’s discovered that she is resistant to the viruses that continue to threaten the world, an amateur scientist and his team offer to harvest her DNA to make healthy babies for others. Inez goes along with the plan, but soon a series of events forces her to raise the one child produced by the experiment. What follows is a heart-piercing tale of love, desire and acceptance as Inez tries to give her daughter a different life from the one she’s experienced.

(5) Larry Correia turns off the game long enough to offer “Fallout 4, Initial Thoughts”.

The atmosphere is great. Unlike many post apocalyptic things, Fallout doesn’t take itself too seriously. So everything has that retro cool, 50s but blown up vibe.

It gets really buggy at times, but better than the last one. This engine is dated, and it shows. Sometimes you kill stuff and it flies up into the air and spins around for a while. Other times a body will get stuck in the wall and vibrate forever. I’ve had a few crashes, freezes, and once I had to unplug and replug in the Xbox to get it to launch. But still better than the last one, and less buggy than Skyrim.

I had to turn on subtitles, because the music has a tendency to get annoyingly loud when people are trying to tell you important things. Then I learned that the subtitles only show up about half the time. So I turned the music way down and the voice volume way up, and even then I miss lots of things my companions are telling me. Damn it, Piper. Speak up. My character has been in like 400 gun fights without hearing protection, so maybe this is just added realism.

(6) John DeNardo has a fun discussion of “Why I Love Retro Science Fiction” at Kirkus Reviews.

Simply put, retro-futurism is what people of the past thought their future might look like. It’s our great-grandparents’ depiction of today. Or, the future that could-have-been.

Retro futures can be observed in many mediums: books, television, film, even sculpture. When you see an “old school” ray gun, you’re looking at a retro future. When you see the people wearing shiny white uniforms on Moonbase Alpha in Space: 1999, that’s the show’s creators’ view of how people in their future might dress. When you see Captain Kirk pull out his cellphone—er, personal communicator—you’re seeing someone from the past predict what cool gadgets the future might bring.

(7) Jason Sanford calls for writers to “Stop Duotrope’s attempt to own authors’ personal submission data”. The service authors use to track submissions and research markets is now trying to restrict users’ rights to their data.

According to Duotrope’s terms of service, “Any data downloaded from this website, including but not limited to submission histories, is strictly for personal use and may not be shared with any third parties or used for commercial purposes.”

What does this mean? It means that if you upload your submission information to Duotrope, you no longer have the right to use your own data as you see fit. You can’t use the data to write an article about submissions for a magazine or upload your data to another online submission system such as the site run by Writer’s Market. Basically, once you use Duotrope you can’t leave and take your data elsewhere.

Duotrope also attempts to make a blatant copyright grab, with their terms stating “The website and its database are also protected as a collective work or compilation under U.S. copyright and other laws and treaties. All individual articles, pages and other elements making up the website are also copyrighted works. Use of any of these original works without written permission of Duotrope LLC is expressly forbidden.”

Duotrope is skating on thin ice here because you can’t copyright data. But combine this copyright statement with their terms of use for the data and Duotrope is essentially saying they own any submission data uploaded to their system by authors.

(8) Annie Bellet asks people not to nominate her for awards in 2016.

I don’t wish to have my work considered for awards this year. I’d like to just have 2016 to get stuff done, worry about my readers and my career, and (hopefully!) not be involved in any award business. I’m not attending Worldcon 2016 either (I’ll be there for 2017 though, yay excuse to go to Finland!).

So please… if you read and enjoyed something of mine that was published this year (and there were a few things I think are some of my best work),  thank you. But don’t vote for my stories.   I’ve got cool work coming out next year, and maybe by 2017 I’ll have healed the stress of this last award season, but for now… please, I want a year of not having to even worry about it, slim as my chances might be.

(9) Fantasy Literature has launched its “Second annual Speculative Fiction Haiku Contest”. Leave your entries in the comments. Can you improve on this entry from last year? I knew you could…

a meddlesome god
sows nightmares in childhood dreams
meesa jar jar binks

(10) Sarah Avery writes the kind of immersive conreport I like. Now at Black Gate — “World Fantasy 2015: It’s the Rosencrantz and Guildenstern Are Dead of Convention Reports”.

Lots of interesting stuff about trying to line up an agent is woven around accounts of WFC’s panels and conversations in the bar. I’m picking this passage for the excerpt, because Avery was actually on one of Mari Ness’ panels that made news here:

After reminding myself a couple of times that panels were not, overall, my mission, I prepared for the one panel I was on.

That panel turned out to be newsworthy not for its content, but because of accessibility issues. Author Mari Ness, who uses a wheelchair, was unable to get onto the stage because there was no ramp. This issue has been covered elsewhere, with all its ramifications for policy, conrunning logistics, and ethics. All I can add to the accessibility discussion is that the other panelists (David Hartwell, Darrell Schweitzer, Stephen R. Donaldson) and I were nearly as uncomfortable with the situation as Ness was. The hotel staff said they’d have to take the stage entirely apart to put their ramp on it, and we were late already, so Ness decided to do the fastest thing. She positioned her wheelchair close enough that we could pass her a microphone. Donaldson was an excellent moderator, and Hartwell and Schweitzer (who on occasion have been known to hold forth) kept themselves uncharacteristically concise to make space in the discussion for Mari. The physical space might not have been inclusive, but we were all determined that the discussion would be.

As it turned out, Mari was the only one whose remarks drew spontaneous applause. We were talking about the ancient epics, contemporary fantasy epics, and what kinds of lineages do or don’t connect them. What, Donaldson asked, were our personal favorites among the modern epics? And though the rest of us got more and more obscure with our picks, Mari’s was Star Wars. And that felt more personally foundational than any other epic we’d discussed.

(11) And as often as I’ve been invoking her name lately, I should also publicize Sarah Avery’s Kickstarter appeal to fund publication of her fantasy novel The Imlen Bastard, which has raised $6,695 to date, achieving its initial $4,500 goal, then a stretch goal that will pay for the audiobook, and finally aspires to raise $9,600 which will allow Avery to commission more Kate Baylay art.

(12) Movie footage was shot at the first Worldcon. We may see it someday, if it hasn’t been tossed, and if anyone can ever find it. Doug Ellis has been searching for years, as he explains in “The Elusive Film Footage of the Very First Worldcon” at Black Gate.

I have a carbon copy of a letter dated August 16, 1939 that Darrow wrote to his friend, Walt Dennis, concerning the first Worldcon. In part, it reads as follows.

The following day was the big day of the convention. [NOTE – DARROW IS REFERRING TO SUNDAY, JULY 2, 1939, THE FIRST DAY OF THE CON.] Otto [BINDER] picked up Bill, Jack [JACK WILLIAMSON], Ed Hamilton and myself and we took a bus to the convention hall. Bill and I had had no breakfast and it was almost noon, so we deserted the gang long enuf to invade an Automat. Arriving back at the hall we found a mob gathered at the door. Somebody shoved an autograph book in my face. [PERHAPS THIS IS WHAT’S CAPTURED IN THIS PHOTO] They way they worked this was to ask every stranger they saw for their autograph and then look to see who they got. I took several snaps (enclosed) and Bill took snaps and movies. There seemed to be a lot of excitement when Forrest J. Ackerman and I met for the first time. Bill took movies of the handshake. Forrie was quite a surprise to me. Tall, handsome and quiet. A very pleasant fellow. He was dressed in an outfit out of Wells’ pic Things to Come.

(13) Gregory N. Hullender has posted Rocket Stack Rank’s evaluation of “Future Visions: Original Science Fiction Inspired by Microsoft”, and adds this incentive to click the link – “The fact that I not only worked at Microsoft for a long time but actually worked on some of these technologies might make this a bit more interesting.”

(14) Yes, I can imagine.

(15) This just in from 2009! “Moon landing tapes got erased, NASA admits”. We now join our conspiracy theories already in progress.

The original recordings of the first humans landing on the moon 40 years ago were erased and re-used, but newly restored copies of the original broadcast look even better, NASA officials said on Thursday.

NASA released the first glimpses of a complete digital make-over of the original landing footage that clarifies the blurry and grainy images of Neil Armstrong and Buzz Aldrin walking on the surface of the moon.

The full set of recordings, being cleaned up by Burbank, California-based Lowry Digital, will be released in September. The preview is available at www.nasa.gov.

NASA admitted in 2006 that no one could find the original video recordings of the July 20, 1969, landing.

Since then, Richard Nafzger, an engineer at NASA’s Goddard Space Flight Center in Maryland, who oversaw television processing at the ground-tracking sites during the Apollo 11 mission, has been looking for them.

The good news is he found where they went. The bad news is they were part of a batch of 200,000 tapes that were degaussed — magnetically erased — and re-used to save money.

(16) Jeremiah Moss at Vanishing New York asks friends to help Jerry Ohlinger

A couple of years ago, I visited Jerry Ohlinger’s amazing movie material store in the Garment District. In business since 1976, it was the last store in New York City dedicated to movie photos.

Struggling with the rent, Jerry closed his shop and moved most of his “one million and one hundred thousand” photos to a warehouse in New Jersey as he downsized to a much smaller shop on West 30th, with limited hours.

Now Jerry needs help. The items in the warehouse need to be moved again, and there’s no money to do it. Visit <https://www.gofundme.com/996j7zvc> and consider giving him a hand.

Jeremiah wrote about the old store for The New Yorker a few years ago in “The Last Picture Shop”.

Jerry Ohlinger’s Movie Material Store has been in business since 1978. It started on West Third Street, moved to West Fourteenth, and eventually ended up on West Thirty-fifth, in the Garment District. With the Internet stealing customers, business isn’t what it used to be, and the nine-thousand-dollar-a-month rent is more than movie photos can pay. Jerry will be closing his shop and selling just online in the next three to six months.

This is unfortunate, because a computer screen will never provide the physical, sensory experience you get when you step into Ohlinger’s. An obsessively organized clutter of movie posters and postcards, stacks of DVDs, and boxes full of eight-by-seventeen poster reproductions, the small front of the store is walled by towering shelves packed with shopworn three-ring binders, all strapped with duct tape and hand-labelled in Magic Marker with the names of the movie stars contained within. The space smells of Jerry’s cigar and the musty vanilla aroma of old paper slowly decaying.

“We’ve got about two hundred and fifty thousand to three hundred thousand photos in all these books,” Jerry says, waving his gummy, unlit cigar in the air.

(17) NPR is impressed —  “Amazon’s ‘High Castle’ Offers A Chilling Alternate History Of Nazi Triumph”.

Many of the goose-bump-inducing moments in this new drama are visual and are startling. Picture this: In Times Square, a giant neon swastika emblazons a building. Or an American flag with the familiar colors — but instead of stars and stripes, there’s a swastika where the stars used to be. Even the map of the former United States of America is disturbing to witness — much more so than those wind-up maps of opposing territories opening each episode of HBO’s Game of Thrones.

The alternate-history American map in The Man in the High Castle is made even more jarring, and creepy, by the sound, and the song, that accompanies it in the opening of each episode. It’s the sound of a film projector whirring into action — underscoring the importance of those illicit films — followed by the old familiar song “Edelweiss” being sung in a much more haunting performance than you’re used to from The Sound of Music.

(18) Rachel Swirsky collected writing advice from novelists about how to start your second book – quotes from Steven Gould, N. K. Jemisin, Ken Liu, and Helene Wecker.

Helene Wecker, author of The Golem and the Jinni:

First, celebrate. Turning in your novel is a huge hairy deal. Go out for a fancy dinner with a significant other or something. Give yourself permission to relax for a few days. You’ve probably been holed up for a while, so go talk to some humans. Send a few emails to friends, accept an invitation to coffee. Go for a walk outside.

Ok, now back to work. It’s a good idea to focus on marketing during the pre-pub months, and to that end you’ll want to prep a master Q&A about the book. My publisher sent me one with about a dozen questions (“How did the idea come to you?” “Who were your favorite characters to write?” “Describe your research process,” etc). It took forever to fill out, but it meant I didn’t have to think on the fly during interviews or readings. If your publisher doesn’t do it for you, make one yourself, with what you’d guess are the most likely questions that a reader or interviewer would ask. It might feel tedious, but you won’t regret it.

(19) Songwriter P. F. Sloan died November 13 at the age of 70. Though best known for his hit “Eve of Destruction”, Sloan also wrote the theme song for Secret Agent Man, which became a hit for Johnny Rivers. The Wikipedia entry for “Secret Agent Man” sets the song in context of genre history:

The lyric “They’ve given you a number and taken away your name” referred to the numerical code names given to secret agents, as in “007” for James Bond, although it also acts as the setup to the “continuation” of Danger Man, the cult classic The Prisoner.”

(20) Wonder if the rest of the book lives up to this line?

 [Thanks to Janice Gelb, Michael J. Walsh, Martin Morse Wooster, Andrew Porter, Mark-kitteh, Tasha Turner, and John King Tarpinian for some of these stories. Title credit goes to File 770 contributing editor of the day ULTRAGOTHA.]

Pixel Scroll 11/18 Count Hero

(1) John Picacio’s thoughts about “The New World Fantasy Award: What’s Next”.

  1. THE FIRST QUESTION NEEDS TO BE THE RIGHT ONE. In this case, I would offer that the first question should not be, “Hey, World: what do you think this award should look like?” The first question should be, “Who are the best sculptors and who is the sculptor that can best elevate this award toward a new timeless icon? Who can carry this responsibility? Who can take us to a place we could not have imagined on our own?” The same respect that is given to a great novelist should be given to a great sculptor here.

The sculptor of this award needs to be an artist, first and foremost — someone who solves problems, conceives original thoughts, has unique insights, and visually communicates those thoughts, insights, emotions and intangibles into tangible form. If the plan is to take a straw poll of the most popular and familiar symbols and word pictures, or to concoct a preordained vision and then hire some poor sap to carefully sculpt to that prescription, then please hire a pharmacist, not a professional artist. However, the World Fantasy Award can do better than that, and I’m hoping it will. If I were a decision maker in this process, I would be sky-high excited about the amazing creative (and branding) opportunity ahead, and I would be vigorously searching for the right sculptor to cast a new icon, rather than casting a fishing line praying to hook an idea.

(2) Many others continue to discuss what it should look like, including Charles Vess on Facebook (in a public post).

Ari Berk (friend & folklorist) suggested this idea. Going back to the original story that it seems all cultures around the world share: the hand print on the cave wall. “I am here and this is my story”.

vess wfa idea

(3) Frequent commenter Lis Carey is looking for financial help. Her GoFundMe appeal asks for $3,000, of which $400 has been donated so far.

I’m in a major fix. I don’t have an income right now, but I do have some major expenses. The tenant’s apartment has no heat, and a leaky kitchen sink, and needs a plumber. I have outstanding gas,and electric bills, and water bills for both apartments. I’m looking for work and trying to hold things together, but I’m desperate and need some breathing space. Help!

(4) Sarah Avery delves into some reasons for the success of multi-volume fantasy in “The Series Series: Why Do We Do This To Ourselves? I Can Explain!” at Black Gate. It’s a really good article but not easy to excerpt because it is (unsurprisingly!) long. This will give you a taste, anyway:

I love an ensemble cast. Reading, writing, watching, whatever. In my imaginative life as in my personal life, I’m an extrovert. The struggles of a main character connect with me best when that main character is part of a community. The solution to the existential horror Lovecraft’s protagonists face had always seemed so obvious to me that I’d never articulated it fully, even to myself. The cosmos as a whole doesn’t prefer you over its other components? Of course not. Unimaginably vast forces that would crack your mind open if you let yourself understand them are destroying your world, and you are entirely beneath their notice? Well, that would explain a lot. So what do you do?

You take comfort in the people you love, you go down swinging in their defense, and you live your mammalian values of compassion and connection intensely, as long as it does any good — and then longer, to the last breath, if only in reproof of whatever in the universe stands opposed to them.

Or maybe that isn’t obvious. But I’m pretty sure it’s not just me.

For whatever reason, Lovecraft was not a person, or an author, who could go there.

But the man could write a shorter story than I could. I’ll go to school on anyone who knows something I don’t, including authors who stretch me beyond the bounds of easy sympathy. What could the thing that appeared to me to be a malady in Lovecraft teach me about the gap in my craftsmanship?

First, I tried sharpening the distinction between the main character and the secondary characters. Simplifying the supporting cast, making my protagonist the only one who got to be as vivid and three-dimensional as I prefer for every significant character to be, got me out of novella territory. I could get my stories down to about 10,000 words and still feel that my work hit my own sweet spots.

What about getting the count lower? Magazine editors tend to set their cutoffs at 4,000 words or 7,000 words. What kind of cast size can you fit into that length, and what can you do with it?

I really don’t think you can squeeze in much of a supporting cast, unless those secondary characters are functioning more as props than as people. At most, you can have two realized characters, but that second can only be squeezed in if you’ve got serious writing chops. More characters than that, and you’re down to tricks that, as Elizabeth Bear likes to put it, hack the reader’s neurology: one telling detail that leads the reader to do all the work filling in a character around it. Okay, that’s a cool skill, one worth having, especially if you can do it so that the reader forgets s/he did all the work and remembers the story as if you’d written the character s/he filled in for you. I think I’ve pulled that trick off exactly once. Man, that was strenuous, and not in the ways I find exhilarating.

Avery’s subtopics include “Is It Enough to Call a Novel Community-Driven When It Sprawls across Two Continents, Seven Kingdoms, Three Collapsed Empires, a Passel of Free Cities, and Two Migrating Anarchic Proto-Nations?” Her short answer is, “Nope.”

(5) Mary Robinette Kowal seeks to lock in real progress to keep pace with conversation since the World Fantasy Con with the “SF/F Convention Accessibility Pledge”.

Over the last few years, there have been numerous instances of SF/F conventions failing to provide an accessible experience for their members with disabilities. Though accessibility is the right thing to do, and there are legal reasons for providing it in the US thanks to the 25-year-old Americans with Disabilities Act, many conventions continue to have no trained accessibility staff, policies, contact information, or procedures for accommodating their members with disabilities. As Congress said in the opening of the ADA, these “forms of discrimination against individuals with disabilities continue to be a serious and pervasive social problem.”

…We the undersigned are making a pledge. Starting in 2017, to give conventions time to fit this into their planning, the following will be required for us to be participants, panelists, or Guests of Honor at a convention:

  1. The convention has an accessibility statement posted on the website and in the written programs offering specifics about the convention’s disability access.
  2. The convention has at least one trained accessibility staff member with easy to find contact information. (There are numerous local and national organizations that will help with training.)
  3. The convention is willing and able to make accommodations for its members as it tries to be as accessible as possible. (We recommend that the convention uses the Accessibility Checklist for SFWA Spaces as a beginning guideline. Other resources include Fans for Accessible Cons, A Guide for Accessible Conferences, and the ADA rules for places of public accommodation, which apply to US conventions.)

Many people have co-signed.

Patrick Nielsen Hayden also observed, “…When you put in the work on these issues, you find out how many people out there have been staying home.”

(6) Michael Kurland’s autobiographical essay “My Life as a Pejorative” is featured on Shots Crime & Thriller Ezine.

At fourteen I discovered mystery stories and couldn’t decide whether I was Rex Stout, Dorothy Sayers or Dashiel Hammett. Or maybe Simon Templar. Not Leslie Charteris, but Simon Templar. How debonaire, how quick-witted, how good looking.

I was 21 when I got out of the Army, enrolled at Columbia University and began hanging out in Greenwich Village. There I fell into bad company: Randall Garrett, Phil Klass (William Tenn), Don Westlake, Harlan Ellison, Bob Silverberg, and assorted other sf and mystery writers. This was my downfall, the start of my slide into genre fiction. I wrote a science fiction novel, Ten Years to Doomsday, with Chester Anderson, a brilliant poet and prose stylist who taught me much of what I know about writing, and followed that up with The Unicorn Girl, a sequel to Chester’s The Butterfly Kid, a pair of fantasy novels in which the two main characters were ourselves, Chester Anderson and Michael Kurland. These books, and The Probability Pad, a continuation written by my buddy Tom Waters, have become cult classics, known collectively as the Greenwich Village Trilogy, or sometimes The Buttercorn Pad.

(7) Today In History

  • November 18, 1963 – Push-button telephones made their debut.

(8) Today’s Birthday Boys and Girls

  • Born November 18, 1928: Mickey Mouse
  • Born November 18, 1939: Margaret Atwood
  • Born November 18, 1962: Sarah A. Hoyt

(9) John Scalzi makes “An Announcement Regarding Award Consideration for 2015 Work of Mine”. He asks people not to nominate him, and in comments indicates he will decline nominations that come his way.

But this year, when it comes to awards, I want to take a break and celebrate the excellent work that other people are doing, and who deserve attention for that work. My year’s already been, well, pretty good, hasn’t it. I’ve had more than enough good fortune from 2015 and I don’t feel like I need right now to ask for another helping…

But for work that was put out in 2015, please look past me. Find the other writers whose work deserves the spotlight you can put on them with your attention, nomination and vote. Find the works that move your heart and your mind. Find the writers whose work you love and who you feel a nomination can help in their careers and their lives. Look past your usual suspects — including me! — and find someone new to you whose stories and effort you can champion to others. Put those people and works on your ballots. 2015 has been genuinely great year for science fiction and fantasy; it won’t be difficult to find deserving work and people for your consideration.

(10) Bigger than your average bomb shelter. “Czech out the Oppidum, the ultimate apocalypse hideaway” at Treehugger.

We do go on about the importance of resilient design, the ability of our buildings to survive in changing times and climates. We are big on repurposing, finding new uses for old buildings. And if the greenest brick is the one already in the wall, then surely the greenest bomb shelter is the one that’s already in the ground. That’s why the Oppidum is such an exciting opportunity; it’s a conversion of a classified secret facility built in 1984 by what were then the governments of Czechoslovakia and The Soviet Union. Now, it is available for use as the ultimate getaway, deep in a valley in the Czech Republic. The developer notes that they don’t make’em like they used to:…

It has a lovely above-grade modestly sized 30,000 square foot residence, which is connected via secret corridor to the two-storey, 77,000 square foot bunker below, which has been stylishly subdivided into one large apartment and six smaller ones for friends, family and staff, all stocked with ten years of supplies.

(11) Former child actor Charles Herbert died October 31 at the age of 66. The New York Times obit lists his well-known roles in movies like The Fly and 13 Ghosts.

Mr. Herbert was supporting his parents by the time he was 5. He appeared in more than 20 films and 50 television episodes, in which he fended off all kinds of adversaries, from a robot to a human fly.

He shared the limelight with Cary Grant, Sophia Loren and James Cagney. He played a blind boy in a memorable episode of “Science Fiction Theater” in 1956, and appeared in a 1962 “Twilight Zone” episode in which a widowed father takes his children to choose an android grandmother.

(12) SF Signal’s latest Mind Meld, curated by Rob H. Bedford, asks Andrew Leon Hudson, Stephenie Sheung (The BiblioSanctum), Richard Shealy, Michael R. Fletcher, Mark Yon, and Erin Lindsey

Q: Who is your favorite animal companion (pet, familiar, etc) in SFF?

A significant number of genre stories features character’s pets or animal companions. From Loiosh of Steven Brust’s Vlad Taltos books to Snuff from Roger Zelazny’s A Night in the Lonesome October to Hedwig from J.K. Rowling’s Harry Potter series, animals can be companions, pets, or near equals to their “owners.” Who is/are your favorite(s)?

(13) Bruce Gillespie invites fans to download SF Commentary 90, November 2015 — over 100 contributors and 70,000 words.

(14) A Christopher Reeve-worn Superman costume is available for bid until November 19 at 5 p.m. Pacific in a Nate D. Sanders auction.

Superman lot COMP

(15) Heritage Auctions reports a menu from the Titanic fetched a high price in a recently closed auction.

Ironically, the top two lots related to a major disaster and a national tragedy. The first was a first class dinner menu from the last supper on the R.M.S. Titanic, the evening of April 14, 1912. Five salesmen and retailers shared a meal, each signing a menu with their place of residence. Of the five, all but one managed to survive the sinking which occurred in the wee morning hours. We believe this to be the only signed example and the only one from the “last supper”. It sold for $118,750.

The second lot was the license plates from the limo President Kennedy was in when he was shot — which went for $100,000.

(16) And this weekend, Heritage Auctions will take bids on Neal Adams’ original cover art for Green Lantern #76, “one of the most important and influential comic books ever published,” as part of the company’s Nov. 19-21 Comics & Comic Art Signature® Auction where it is expected to bring $300,000+.

Adams’ iconic cover is striking and symbolic. This issue broke more than just the lantern on the cover! Adding Arrow’s name to the title and logo of the book was genius. It created the first “buddy book” in the comic industry… the equivalent to the “buddy movie” genre. It also allowed writer Denny O’Neil to launch into a 13 issue run that dove into political and sociological themes like no comic had before.

 

Green lanter green arrow

(17) Lovecraft’s mug has already been saved from awards obscurity (or permanently guaranteed it, depending on your view) by the administrators of the Counter Currents and the administrators of its H. P. Lovecraft Prize for Literature. (Which can also be reached using this handy Donotlink link.)

Last year, we at Counter-Currents saw this coming. Thus we have created the Counter-Currents H. P. Lovecraft Prize for Literature, to be awarded to literary artists of the highest caliber who transgress the boundaries of political correctness. Our first laureate is novelist Tito Perdue, who received the award at a banquet in Atlanta on March 7, 2015.

The prize bust is by world-famous porcelain artist Charles Krafft, whose own defiance of political correctness has just led to the cancellation of an exhibition in London.

Wikipedia has an entry on Tito Perdue.

More details about Krafft’s exhibit being pulled by a Whitechapel art gallery from Jewish News:

A fashionable Whitechapel art gallery has pulled the plug on an exhibition by an artist who has been described as a “Holocaust denier” and a “white supremacist,” after complaints and threats were made.

Charles Krafft, who denies both charges, was due to show his work at StolenSpace for the second time, but gallery bosses said they pulled out after receiving “both physical and verbal threats”.

Krafft’s controversial ceramics include busts of Hitler, swastika perfume bottles with the word “forgiveness” emblazoned upon them and plates covered in drawings of Nazi bombings. His work and attributed comments has led to him being labelled a white supremacist, a Nazi sympathiser and a Holocaust denier.

(18) Triple-threat interview with Ken Liu, Lauren Beukes and Tobias S. Buckell at SFFWorld.

Ecotones are the points of transition that occur when two different environments come into contact, and almost inevitably conflict. Can you describe for us an ecotone that has had personal significance for you?

Ken Liu: We’re at a point in our technological evolution where the role played by machines in our cognition is about to change qualitatively. Rather than just acting as “bicycles for the mind,” computers, transformed by ubiquitous networking and presence, will replace important cognitive functions for us at an ever accelerating pace. Much of our memory has already been outsourced to our phones and other devices—and I already see indications that machines will be doing more of our thinking for us. Not since the invention of writing has technology promised to change how we learn and think to such an extent.

The transition between the environment we used to live in and the environment we’re about to live in is going to be exciting as well as threatening, and we’re witnessing one of the greatest transformations in human history.

Tobias Buckell: Last year a deer walked on down through Main Street and then jumped through the window of the local downtown bar. They got it on security camera.

Lauren Beukes: The shared reality of overlapping worlds I live through every day – the schism in experience between rich and poor where everything works differently, from criminal justice to the food you eat, how you get to work, schooling, the day-to-day you have to navigate.

I saw this most clearly and devastatingly when I tried to help my cleaning lady get justice for the scumbag who fatally assaulted her daughter. The cops didn’t care. The hospital put it down as “natural causes”. The prosecutor had to throw the case out because there was so little evidence. This compared to an incident when a friend’s motorbike was stolen at night in the nice suburbs and five cops ended up on his balcony drinking tea, having recovered the vehicle.

(19) Sarah Chorn at Bookworm Blues wonders if her conflict of interest should bar her from reviewing two books.

I feel pretty weird about doing this, but I also think it has to be done. This year I was a beta reader for two books that are currently published (a few more that have upcoming publication dates). I have struggled a little bit with how to approach these novels. While I feel obligated to review them (and I want to review them), I feel like being a beta reader for them takes my objectivity out of it, which is a problem for me. Is it really a review if I can’t objectively judge it?

Am I pondering my navel?

I’m surprised her desire to ask the question didn’t lead to a built-in answer.

(20) The Ant-Man Gag Reel has a few bloopers, though it’s not all that funny.

(21) Marvel’s Agent Carter Season 2 premieres January 5 on ABC.

[Thanks to Kate Savage, Will R., Andrew Porter, and John King Tarpinian for some of these stories. Title credit goes to File 770 contributing editor of the day Will R.]