Posts tagged ‘Alexis Carrel’

he Futurians, 1938

Some of the Futurians at my apartment in 1938. From left, front row: Joseph Harold Dockweiler aka Dirk Wylie, John B. Michel, Isaac Asimov, Donald A. Wollheim; center row: Chester Cohen, Walter Kubilius, me, Richard Wilson; top row: Cyril Kornbluth, Jack Gillespie, Jack Robins.

I haven’t been in the habit of putting my own stories in the blog, but there are one or two that I think belong here. “The Reunion at the Mile-High” was one. I wrote it as a “festschrift” story for Isaac Asimov and it, along with a dozen or so similarly born stories by other writers, made a volume given to him to celebrate his long and glorious career.

What tickled me was what he said after he’d read it. He clutched his chest and said, “I suddenly thought, what if the story had been true?”

The Reunion at the Mile-High

By Frederik Pohl

In those long and long-ago days — it’s been half a century! — we were not only young, we were mostly poor. We were all pretty skinny, too, though you wouldn’t think that to look at us now. I know this, because I have a picture of the twelve of us that was taken right around 1939. I dug it out to loan it to my publisher’s public relations people just the other day, and I looked at it for a long time before I put it in the overnight mail. We didn’t took like much, all grinning into the camera with our hairless, hopeful teenage faces. If you’d been given a couple of chances to guess, you might have thought we were a dozen Western Union boys on our day off (remember Western Union boys?), or maybe the senior debating club at some big-city all-boy high school. We weren’t any of those things, though. What we actually were was a club of red-hot science-fiction fans, and we called ourselves the Futurians.

That old photograph didn’t lie. It just didn’t tell the whole truth. The camera couldn’t capture the things that kept us together, because they were all inside our heads. For one thing, we were pretty smart — we knew it ourselves, and we were very willing to tell you so. For another, we were all deeply addicted readers of science fiction — we called it “stf “in those days, but that’s a whole other story. We thought stf was a lot of fun (all those jazzy rocket ships and zippy death rays, and big-chested Martians and squat, sinister monsters from Jupiter — oh, wow!) That wasn’t all of it, though. We also thought stf was important. We were absolutely sure that it provided the best view anyone could have of T*H*E  F*U*T*U*R *E, by which we meant the kind of technologically dazzling, socially Utopian, and generally wonderful world which the rather frayed and frightening one we were stuck with living in might someday become. And, most of all, we were what our old Futurian buddy, Damon Knight, calls toads. We weren’t very athletic. We didn’t get along all that well with our peers — and not even as well as that with girls. And so we spent a lot of time driven in upon our own resources, which, mostly, meant reading. We all read a lot.

We even more or less agreed that we were toads. At least, we knew that girls didn’t seem anxious to fall bedazzled by any of our charms. I’m not sure why. It wasn’t that we were hopelessly ugly — well, not all of us, anyway. Dave Kyle and Dirk Wylie and Dick Wilson were tall and actually pretty good-looking. Even the snapshot shows that. I think our problem was partly that we were scared of girls (they might laugh at us — some of them no doubt had), and partly a matter of our internal priorities. We were more into talking than tennis, and we put books ahead of jitterbugging.

That was half a century ago. In other words, history. My secretary, who is also my chief research assistant when I need a specific fact from the library, tells me that 62.8 percent of the people alive today weren’t even born then, which undoubtedly means that that ancient year of 1939 seems as remote and strange to most people now as the Spanish-American War did to me.

I would like to point out, though, that 1939 didn’t seem all that hot to us, either, even while we were living it. It wasn’t a fun time. We were the generation caught between Hoover and Hitler. We had the breadlines of the Great Depression to remember in our recent past, and the Nazi armies looming worrisomely in our probable future. When we looked out at the real world we lived in we didn’t much like what we saw.

So, instead, we looked inside the stf magazines we adored, and then we looked inside our own heads. We read a lot, and we tried to write. Because the other thing about us, you see, was that we were all pretty hardworking and ambitious. Since we weren’t thrilled by our lives, we tried to change them. We had our meetings — we’d get together, once a month or so, in somebody’s basement or somebody else’s living room, and we’d talk about this and that; and then we’d go out for an ice-cream soda; and then we’d gradually splinter apart. Some of us would go home — especially the ones who had to get up in the morning, like Isaac Asimov. (He worked at his parents’ candy store, and the commuters started coming in for their morning papers at five-thirty a.m.) Most of the rest of us would just wander, in twos and threes. I’d start out by walking Dirk and Johnny Michel to their subway station. But generally, by the time we got to it, we’d be in the middle of some really interesting discussion (did the General Motors Futurama at the World’s Fair have the right idea about the World of Tomorrow, all twelve-lane superhighways and forty-story apartments? Were John Campbell’s Arcot, Wade & Morey stories as good as Doc Smith’s Skylark?) — so then they’d walk me back to my station … or around the block … or anywhere.

Always talking. Talking mattered to us. Writing mattered, too, almost as much. We did a lot of it, on our battered second-hand portable typewriters, each on his own but always with the intention of showing what we had written to the others. Words mattered, and we particularly intended to make our words matter. Somehow. We didn’t really know how, exactly, but when you think of it, I guess we succeeded. If we were toads, as Damon says, then sometime or other some wandering fairy princess must have come along and kissed us, and turned us into something different … or we wouldn’t have been getting together at the top of the Mile-High Building for our Fiftieth Reunion, with reporters allover the place and our older, considerably more impressive faces stating out at the world on the Six O’Clock News.

You can’t fly nonstop from Maui to New York, even on the sleeper, because they don’t let flying boats operate over the continent. So I had to change planes in Los Angeles. Naturally I missed my connection, so when we finally landed at Idlewild I was late already.

The porter cut a taxi out of the snarl for me — it’s wonderful what a five-dollar bill can do at an airport. As I got into the cab, I stretched my neck to look toward the New York City skyline, and I could see the Mile-High Building poking far above everything else, looking like a long, long hunting horn sitting on its bell … if you can imagine a hunting horn with gaps along its length, held together (as it seemed at that distance) by nothing bigger than a couple of pencils. They say they need those wind gaps in the tower, because a hurricane just might push the whole thing over if they didn’t allow spaces for the air to get through. Maybe so. I’m willing to believe that the gaps make the building safer, but they certainly aren’t reassuring to look at.

Still, the Mile-High has managed to stay up for — let’s see — it must be six or seven years now, and it’s certainly an imposing sight You can see it from anywhere within forty or fifty miles of New York. More than that. It’s so immense that, even across most of Queens and part of Brooklyn, when I looked at it! was distinctly looking up. Then, when I got out of the cab at its base, it was more than big, it was scary. I couldn’t help flinching a little. Whenever I look straight up at a tall building I get the feeling it’s about to fall on me, and there’s nothing taller than the Mile-High.

A limousine had pulled up behind me. The man who got out looked at me twice, and I looked at him thrice, and then we spoke simultaneously. “Hello, Fred,” he said, and I said:

“Doc, how are you? It’s been a long time.”

It had been — twenty years, anyway. We were obviously going to the same place, so Doc Lowndes waited for me while I paid off the taxi, even though it was gently drizzling on Sixth Avenue. When I turned away from the taxi driver, after a little argument about the tip, Doc was doing what I had been doing, staring up at the top of the Mile-High. “Do you know what it looks like?” he asked. “It looks like the space gun from Things to Come. Remember?”

I remembered. Things to Come had been our cult movie, back in the l930s; most of us had seen it at least a dozen times. (My own record was thirty-two.) “Yeah, space, I said, grinning. “Rocket ships. People going to other planets. We’d believe almost anything in those days, wouldn’t we?”

He gave me a considering look. “I still believe,” he told me as we headed for the express elevators to the top.

The Mile-High Building isn’t really a Things to Come kind of edifice. It’s more like something from that even more ancient science fiction film, Just Imagine silly futuristic spoof packed with autogyros and Mars rockets and young couples getting their babies out of vending machines. I first saw Just Imagine when I was ten years old. The heroine was a meltingly lovely teenager, just imported from Ireland to Hollywood, and that movie is why all my life I have been in love with Maureen O’Sullivan.

The Mile-High Building doesn’t have any of those things, least of all (worse luck!) the still lovely Maureen, but it is definitely a skyscraper that puts even those old movie-makers to shame. To get to the top you go a measured mile straight up. Because the elevators are glass-walled, you get to see that whole incredible five thousand plus feet dropping away as you zoom upward, nearly a hundred miles an hour at peak velocity.

Doc swayed a little as we accelerated. “Pretty fast,” he said. “Real fast,” I agreed, and began telling him all about the building. It’s hollow inside, like an ice-cream cone, and I knew quite a lot about it because when I was still living in New York City, before I could afford the place on Maui, I used to know a man named Mike Terranova. Mike was a visualizer working for an architect’s office — at another point in his career he did the drawings for the science fiction comic strip I wrote for a while, but that’s another story, too. Mike really was better at doing machines and buildings than at drawing people, which is probably why our strip only ran one year, but he made up for it in enthusiasm. He was a big fan of the Mile-High. “Look at the wind gaps in it,” he told me once, as we walked down Central Park West and saw the big thing looming even thirty blocks away. “That’s to let the wind through, to reduce the force so it shouldn’t sway. Of course, they’ve also got the mass dampers on the two hundredth and three hundredth and four hundredth floors, so it doesn’t sway much anyway.”

“It’s just another skyscraper, Mike,” I told him, amused at his enthusiasm.

“It’s a different kind of skyscraper! They figured out the best offices are the ones with an outside view, so they just didn’t build any offices inside! It’s all hollow — except for the bracing struts and cables, and for the three main floor — through sections, where you change elevators and they have all the shops andthings.”

“It’s brilliant,” I said; and actually it was. And I was explaining all this to Doc, and all the time I was talking we were flashing past those vast central atria that are nearly a hundred stories high each, with their balconies, and flowers growing down from the railings, and lianas crisscrossing the central spaces; and Doc was looking at me with that patient expression New Yorkers reserve for out-of-towners.

But all he said was, “I know.”

Then I was glad enough for the break when we walked across the hundredth-story level, between the soda fountains and the clothing shops, to the next bank of elevators, and then the next. Then you get out at the top, five thousand and change feet above the corner of Fifty-second Street and Sixth Avenue, and you have to take an escalator up another flight to the club itself

I don’t like standing still, so I took the escalator steps two at a time. Doc followed gamely. He was puffing a little as we reached the door the doorman was already holding open for us.

“Put on a little weight, I see,” I told him. “Too much riding in limousines, I’d say. There must be big bucks in the poetry racket these days.”

I guess my tone must have sounded needling, because he gave me a sidelong look. But he also gave me a straightforward reply, which was more than I deserved. “I just don’t like taxi drivers,” he said. “Believe me, I’m not getting rich from my royalties. Publishing poetry doesn’t pay enough to keep a pig in slop. What pays my bills is readings. I do get a lot of college dates.”

I was rebuked. See, we Futurians had been pretty sharp-tongued kids, big on put-down jokes and getting laughs at each other’s expense; just the thought of coming to the reunion seemed to get me back in that mood. I wasn’t used to seeing Bob in his present gentler incarnation.

Then the white-haired woman took our coats, and even gentle Bob got a kind of smirk on his face as I handed over my trenchcoat. I knew what he was looking at, because I was wearing my usual at-home outfit: canary-yellow slacks, beach-boy shirt, and thongs. “I didn’t have a chance to change,” I said defensively.

“I was just thinking how nice it is for you folks that live in Hawaii,” he told me seriously, and led the way into the big reception room where the party had already started.

There had certainly been changes. It wasn’t like the old days. Maybe it was because they were talking about making Bob poet laureate for the United States. Or maybe it was just the difference between twenty and seventy. We didn’t have to explain how special we were now, because the whole world was full of people willing to explain that to us.

There were at least a hundred people in the room, hanging around the waiters with the champagne bottles and studying the old pictures on the wall. It was easy to see which were the real Futurians: they were the ones with the bald spots or the white beards. The others were publicity people and media people. There were many more of them than of us, and their average age was right under thirty.

Right in the middle was Dr. Isaac Asimov, sparring good-naturedly with Cyril Kombluth. They were the center of the biggest knot, because they were the really famous ones. General Kyle was there — in uniform, though he was long retired by now — telling a young woman with a camera how he got those ribbons at the battle of Pusan. Jack Robinson was standing in the background, listening to him — no cameras pointed at Jack, because the reporters didn’t have much interest in schoolteachers, even when that one had been one of Harvard’s most distinguished professors emeritus. I saw Jack Gillespie, with a gorgeous blonde six inches taller than he was on his arm — she was the star of one of his plays — and Hannes Bok, looking older and more content than he used to, drinking Coca-Cola and munching on one of the open-faced sandwiches. There wasn’t any doubt they were pretty well known by any normal standards. Jack had already won a Pulitzer, and Hannes’s early black-and-whites were going for three thousand dollars apiece in the galleries on Fifiy-seventh Street. But there’s a difference between say-didn’t-I-see-you-once-on-TV and famous. The media people knew which ones to point their cameras at. Cyril didn’t have one Pulitzer, he had three of them, and the word was he’d have had the Nobel Prize if only he’d had the sense to be born a Bolivian or a Greek. And as to Isaac, of course — well, Isaac was Isaac. Adviser to Presidents, confidant of the mighty, celebrated steady guest of the Jack Paar show and star of a hundred television commercials. He wasn’t just kind of famous. He was the one of us who couldn’t cross a city street without being recognized, because he was known by features to more people than any senator, governor, or cardinal of the Church. He even did television commercials. I’d seen him in Hawaii, touting the Pan American Clipper flights to Australia … and he didn’t even fly.

They’d blown up that old photograph twelve feet long, and Damon Knight was staring mournfully up at it when Doc and I came over to shake hands. “We were such kids,” he said. True enough. We’d ranged from sixteen — that was Cyril — to Don Wollheim, the old man of the bunch: why, then he had been at least twenty-three or twenty-four.

So much has been written about the Futurians these days that sometimes I’m not sure myself what’s true, and what’s just press-agent puffery. The newspaper stories make us sound very special. Well, we certainly thought we were, but I doubt that many of our relatives shared our opinion. Isaac worked in his parents’ candy store, Johnny Michel helped his father silk-screen signs for Woolworth’s Five and Ten, Dirk Wylie pumped gas at a filling station in Queens, Dick Wilson shoved trolleys of women’s dresses around the garment district on Seventh Avenue. Most of the rest of us didn’t have real jobs at all. Remember, it was the tail end of the Great Depression. I know that for myself I considered I was lucky, now and then, to get work as a restaurant busboy or messenger for an insurance company.

A young woman came over to us. She was reading from a guest list, and when she looked at me she wonderfully got my name right “I’m from Saturday Evening Post Video, “she explained. “You were one of the original Futurians, weren’t you?”

“We all were. Well, Doc and I were. Damon came along later.”

“And so you knew Dr. Asimov and Mr. Kornbluth from the very beginning?”

Continue reading ‘The Reunion at the Mile-High’ »

 

The Space Merchants

 
    Our most famous collaboration.

When I seriously began trying to be a writer — by which I mean when I began to write stories with beginnings, middles and ends — I began feeling the need to have other people around who were doing the same thing.

I wasn’t the only one. It was quite common for three or four, sometimes more, beginning writers to get together for a few hours after dinner — perhaps in someone’s apartment or, more likely, an office, because the chances of finding enough typewriters to go around would be better there — and everybody start typing at once. Then when we had something complete, we would show the story to the other guys, or maybe read it aloud to everyone at once, for criticism.

I don’t know that the presence of others made my own writing any better, but it did encourage me to do more of it. This is a good thing in itself. The very best way to improve as a writer is to keep right on writing until it gets good.

I hooked up briefly with two of these mutual-assistance groups. In neither case did we talk to each other about what we were going to write until we had written it. That was just as well, in a way, because what I wrote was almost always science fiction and in that the others had no interest at all. (A feeling I reciprocated about their light boy-girl comedies or sports.) I yearned not just to practice the mechanical skills but to hear trade talk about science fiction.

Then — blessed day! — along came the Futurians.
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The Futurians were one of the New York area’s science-fiction fan clubs, but they were a little different from the others. We didn’t just want to read sf and talk about it. We wanted to make it — to write it, or to become editors of it or in some other way to become professionally involved in producing it, and to make that sort of thing our lifelong careers. So naturally, inevitably, we started our own writing group.

Actually, it might actually be more accurate to say we became one, because even the non-obsessed fraction of our members were mildly interested in the writing. All we needed was a place to set our portable typewriters — and then, when three of our members decided to club together on a joint apartment at 2574 Bedford Avenue in Brooklyn that would also be the club headquarters, that problem was solved. We called it the Ivory Tower (it was on the fourth walk-up floor), and there we wrote. Three or four of us at a time, sometimes more.

The diligent ones, first to last, were Cyril Kornbluth, Dick Wilson, Donald Wollheim, Robert A.W. Lowndes, Dirk Wylie, James Blish, Damon Knight and, of course, me. Member Isaac Asimov rarely joined us in these sessions. He was as eager as anybody else, but he had to work regular shifts at his mom and pop’s candy store and so had to do most of his practice writing alone. (Well, except for a couple of minor collaborations with me, which are in his book The Early Asimov.) And, as you see, quite a few of us made the professional cut — some, like Isaac, almost excessively.

In fact we had a kind of success that writers’ workshops seldom achieve. Why? There may have been several reasons, but perhaps one of them was that there was a particular exercise we did that most workshops don’t do. We didn’t give each other just criticism and moral support. We began doing something else. We began to collaborate.
 

There are many ways of collaborating,. I think the traditional way goes with two writers getting into a room with a pot of coffee and a typewriter. One of them sits down at the typewriter and types their names and addresses and a title for the story and then looks expectantly at the other. Who says, “Okay, let’s start with he meets the girl. She gets out of a taxi, but when she closes the door and it starts away her dress is caught and the skirt is pulled off.” While the other one is typing away. And they keep on doing that, maybe changing places from time to time, until the story’s done.

What all the ways have in common is that two (or occasionally more) people are involved, and the hope is that if one gets stuck the other will come up with a way to get out of it. Or, when it’s working well, one has an idea for a bit of business and the other takes it and runs with it.

I’ll give you an example from life. When Cyril and I were writing The Space Merchants long, long, long ago we had some scenes in a food factory that we called Chlorella Costa Rica, where people were farming algae to turn into food for poor people. I said, “Why don’t we give them some actual meat? They can have an Alexis Carrel chicken heart that just keeps growing and growing and they chop steaks off it as it rotates.”

And Cyril said, “Fine,” and began to type and made the whole Chicken Little bit out of it. If you’ve read the book you know how fine that was; if you haven’t take my word for it. It was fine.

You have just seen one of the reasons why I loved collaborating with Cyril, but what I’m saying is that collaborating can help, even if you don’t have two writers who work together as productively as Cyril and I often did. It is often helpful to a newbie to collaborate, even with another newbie, just for the sake of the life support and discipline they can give each other.

Enough for now. Next time I’ll tell you how collaborating can help you even when you don’t have anyone to collaborate with.

 
Related posts:
Fred’s Distilled Writing Wisdom,
Part 1, Part 3, Part 4