Posts tagged ‘Fanzines’

 

Robert A.W. Lowndes (Photo by Jack Robins, Tarrytown, N.Y., 1939.)

Robert A.W. Lowndes (Photo by Jack Robins, Tarrytown, N.Y., 1939.)

Jack Robins

Jack Robins
 

 
Guest Post By Jack Robins

I recall many things about Robert W. Lowndes, how soft-spoken he was, how much he enjoyed studying old science fiction stories, and how warm and friendly he was.

I remember one time, when John Michel, Don Wollheim, Lowndes and I were in a bar each drinking something. Lowndes ordered a white wine, I believe it was Sauternes. He took a sip and let the small amount of fluid roll over his tongue to relish the flavor and he held it there for a long while before swallowing. He told me the only way to appreciate wine was to sip it slowly and savor the flavor. I now think that was just rationalization for not having sufficient funds to order a second glass. But at the time I was so impressed by his sophistication that for a long time, the only wines I preferred to drink were white wines and I would try to make the flavor last in my mouth a long time. Many years later, I mentioned this incident to Robert but he said he could not remember it.

Once after a meeting, when we were about to go to our respective homes, Robert surprised me by saying he wanted to go home with me. I was hesitant. My parents had no phone at the time so I could not ask my mother if it would be all right. “I have to,” he told me. “I have no place to sleep tonight.” That did it. I said, “Sure.”

When we got to my home and I explained things to my mother, she accepted Robert and fed us dinner. The apartment was rather small. There was one big bedroom, no privacy. Normally I slept alone on a full sized bed on one side of the bedroom and my father and mother shared the bed on the other side. So that night Robert and I had to sleep in my bed. There was no other room. I slept well but I don’t know how Robert fared. The following morning my mother fed us a good breakfast.

Always, whenever I went to meet with the Futurians, I had to go to Michel’s house, and later on to the apartment they shared. No one had ever come to my house. Now, having a fellow Futurian visit me at my home, sharing my food and even my bed, made me feel good. Worrying about Robert, I asked him did he want to spend another night at my house.

He said, “Absolutely not.” I asked him why. He said, “Isn’t it obvious?” He would not give any details. I did not press him to find out whether it was because of the lack of privacy, the forced sharing of my bed, the single bathroom, or the poverty he observed. But I was glad to have helped him out that one night.

Lowndes used to regale us with quotes from early science fiction stories. He would stand before us and read paragraphs from stories in old magazines from his or Don Wollheim’s collection, and we would groan at what we thought was bad writing. One such story that drove us to loud laughter involved a manlike robot that was the house servant. When providing refreshment, the robot was asked by a visitor to join him in a drink. The robot declined, stating, “The drink affects the delicate enamel of my teeth and once that is gone, the rest soon follows.” This sentence was repeated so many times in the story that I doubt any of us listeners could ever forget it. We thought that the robot was the only thing of merit in the story. It was not made clear whether the robot was referring to the effect of sugar on the teeth and that once the protective enamel was gone, the rest of the teeth soon followed, or whether, as Lowndes believed, considering what the robot was made of, once the enamel was gone, the rest of the robot would also deteriorate and vanish.

In those early days, we were often fond of walking long distances around Flatbush, Brooklyn, finally ending up in an ice cream parlor or candy store for sodas. The basic group included: Wollheim, Michel, Lowndes, Cyril Kornbluth and me. Occasionally Dick Wilson would join us. We continued this ritual even after Michel, Wollheim, Kornbluth and Lowndes had decided to room together in the first apartment they jointly rented.

During each of these walks, Kornbluth would relate a shaggy dog story. It was about an unemployed, destitute man who sees an ad in a paper left on a park bench, offering a huge reward for a lost shaggy dog. Just then he sees a huge shaggy dog ambling about and becomes convinced this was the one that was lost. He grabs the dog and endeavors to return it to the owner. Unfortunately, he meets up with many difficult and life-threatening obstacles on the way to returning the dog and finally, his clothes in rags, many cuts and bruises all over his face and body, he rings the doorbell of the dog’s owner. A man, obviously a butler, regards him while sniffing snobbishly and asks what he wanted. “I’ve found your shaggy dog and I’ve come for the reward,” our hero says. The butler looks at it with disdain and says, “It’s not that shaggy,” and slams the door on the man. It was a pointless and unappealing story, but the fun was in inventing the obstacles that faced the hero.

Each time we took the walk, Cyril Kornbluth would tell this story in his deep melodious voice that made each word sound like a pronouncement of doom. At every rendition, Cyril’s imagination would fly through fantastic difficulties that had us laughing despite the morbid character of the story. In Cyril’s inventiveness, the hero might struggle with someone and get a black eye or two, or he might get hit by a truck and end up in the hospital, or something else would happen to him before he could return the dog. Each time he repeated the story it had a different set of obstacles. Cyril’s vivid imagination was impressive.

One day, Kornbluth couldn’t be with us. Robert took over the telling and let his own imagination take rein. His soft, pleasant version was not as predictive of doom as Kornbluth’s, but his imagination was just as effective. I realize now that those storytelling incidents were training for later authorhood.

After the group had obtained the apartment they shared, we would occasionally go to a Chinese restaurant some blocks away and order our evening meal. We were all poor and could not afford anything sumptuous. Imagine a ceramic bowl six or seven inches in diameter, about an inch and a quarter high, filled with such recipes as fried rice or chow mein or chop suey, all for 25¢, including dessert. To us this was the height of extravagance, and during the time we were eating we felt wealthy and that we were eating like the super rich.

One day in late March, during the period when Lowndes was publishing the fanzine Science Fiction Weekly, I urged Robert to put out an April Fool’s issue. He was very reluctant. He depended upon paid subscribers to finance the publishing plus a little money for himself, and he was also beholden to various sources who revealed to him all the latest happenings in the science fiction field that he could publish. If he issued an April Fool’s issue, his subscribers might feel cheated or he might offend the ones who supplied his material. Finally I convinced him that issuing an extra April Fool’s supplement and naming it Science Fiction Weakly would do him no harm and the readers might even appreciate it. The issue he finally prepared was one page, two columns on each side of the page, each column being a single article of about 300 words. I wrote up three humorous articles, taking up three of the columns and someone else wrote the fourth. I don’t know how many of the readers took to the April Fool’s issue, but since Robert was still publishing the paper thereafter, I guess they must have been amused.

 
To be continued.
 

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Dick Smith demonstrates a mimeograph. (Photo by Chaz Boston Baden.)

Dick Smith demonstrates a mimeograph. (Photo by Chaz Boston Baden.)

Publishing a fan mag in the 1930s was a low-skill, but not a no-skill job.

At the lowest level — that would be the carbon-copy magazine — it required no more competence than the ability to type a page of copy. The more sheets you could slip into your typewriter of copy paper, each with a sheet of carbon paper appended, the more copies you could make of your fan mag. The practical limit was seven or eight, and that only with the thinnest of copy paper and the cleanest of typewriter keys. (By “keys” I mean the part that hits the typewriter ribbon, not the keyboard keys that you press on with your fingertips.)

Dissidents in the Soviet Union in those years published their own sort of fan mags, only they weren’t criticizing sf magazines, they were criticizing their government, and if they got caught at it they faced, at least, jail, and possibly much worse. The examples of it I’ve seen were carbon-copied, because that’s all they had, and very nearly illegible. But they were passed around until they were worn out, or until the owners were caught.

There wasn’t much satisfaction in publishing a carbon-copy magazine. After you made a copy for yourself and a couple for your best friends there weren’t any left to send to Forrest J Ackerman and Don Wollheim and Jack Darrow and the other Big Name Fans you hoped would reciprocate by sending you theirs, so fans and fan groups with any funds at all would rise to the next level, the hectograph.

About the only people to use the hectograph other than fans were the chefs in small, often Italian, restaurants who wanted to announce the dishes they had on offer each day. The hectograph itself was a page-sized tray filled with jelly — usually purple — and not actually a very big step out of the poverty level because you couldn’t make much more than a couple dozen legible copies of each page.

The technology required you to type the copy you wanted to print on a sheet of specially treated paper (called by hectographers a “stencil,” though it properly wasn’t). To prepare for the printing operation, you first washed off the slab of jelly all the ink that was left on it from its last job, then allowed it to dry. Then you carefully spread the stencil over the surface of the jelly, pressing it gently to be sure of contact.

Then you removed the stencil and laid a sheet of paper where it was. Next, you hung that sheet to a cord you have stretched across the room to dry. Then you did the same with your next sheet of paper, continuing until the latest copy was getting too blurry to read. Then you washed the surface of the ink slab to remove every trace of the copy and typed a new copy, continuing until you ran out of copy paper or thought you had enough. You can usually identify a hectograph user by the fact that his fingers are almost always purple.

Then, when the jelly was good and dry, you washed off the old printing and start all over with a new page. You printed all the odd-numbered pages of your fan mag that way, hanging them all up to dry. Then you took them down and did the same thing on the other side for the even-numbered pages, and hung them up again.

When they were good and dry, they were ready to bind — which we will talk about after we describe a few more methods of printing, since the binding is pretty much the same for all of them. Such as the dominant form, used probably by more fans than all the others combined, the mimeograph.

Continue reading ‘How to Publish a Fanzine’ »

King of the Comics and Agent, Editor, Faaan

Julius Scwartz, 1945.

Julius Scwartz, 1945.

The thing about Julius Schwartz is that, while I myself did many things in that Early Paleozoic Era when there were no jet aircraft or nuclear submarines and people didn’t even have TV sets yet, Julie Schwartz was doing the same things even earlier than I did.

For instance, I joined my first science-fiction fan club, the Brooklyn Science Fiction League, in 1932, but Julie had joined the first science-fiction fan club that ever existed, the New York Scienceers, years before that. I edited my first fanzine (we didn’t call them that yet, just “fan magazine”) when I was twelve. So did Julie. But he was twelve before I was, due to his unfair advantage of having been born four or five years earlier.

And both of us had set ourselves up as literary agents, specializing in trying to sell other writers’ stories to the science-fiction magazines, and both of us coasted from that to actual full-time jobs editing —

Hey, wait! I was going to say that we then coasted into full-time jobs as professional magazine editors. And that did happen for both of us, but I’m getting the facts wrong, because that was the one time that I led the way for Julie.

I broke in in 1939, when I lucked into the job of editing two science-fiction magazines, Astonishing Stories and Super Science Stories, for Harry Steeger’s giant pulp house of Popular Publications. Julie not only was still making his rounds as a literary agent at that time, I actually bought a number of stories from him for my magazines. He didn’t get the chance to make the jump to an editorial job, with an actual salary, until 1944. Then he was hired as an editor by a company that published comics magazines which ultimately mutated into the mighty DC Comics.

Oh, and there was another significant difference in our careers. By 1944, I wasn’t working for Popular Publications anymore, anyway. A war had come along and it required me to get into uniform so I could give it my full attention. I never did go back to working for Popular Publications, either.

Julie, on the other hand, knew a good thing when he had it. He stayed with DC Comics, in all of its convolutions and growth problems, until the day when — by then as its editor in chief! — he retired.

That was in 1986. However, you mustn’t think that his retirement from editorial duties took Julie off the payroll. Although he didn’t have to worry about deadlines or sales figures any more, but now he was reborn as DC Comics’ “goodwill ambassador to the world of comics and science-fiction fandom.” That meant he was given a fat expense account and charged with showing the DC Comics flag at as many cons and other events as he could find the strength to go to.

Was that what you would call a dream job? For a grown-up faaan who still loved cons and fandom in general, you bet it was! But it wasn’t unwarranted. More than any other single human being, Julie was responsible for returning DC Comics, and indeed the whole comics industry, to the money-making powerhouse status it achieved in the mid-1950s. in what was called “the Silver Age Revolution.”

Continue reading ‘Julie Schwartz’ »

Part 2 of Review of the Campbell-Swisher Letters

John W. Campbell in 1957 (from efanzines.com)

John W. Campbell in 1957 (from efanzines.com)

Fantasy Commentator
Sam Moskowitz and A. Langley Searles Memorial Issue, Special Double Issue, Nos. 59 & 60.

 
On October 5, 1937, John W. Campbell’s world changed. The powers at Street & Smith, on F. Orlin Tremaine’s advice, appointed him to replace Tremaine as editor of Astounding Stories. That must have been a shock to Campbell, who’d been worriedly wondering who would get the job, as well as a solution to the worst of his money worries.

I had guessed elsewhere the his weekly paycheck was probably $35, but I was wrong. Actually it was $30. Yet that was a sum the young Campbells had only dreamed of having — was enough, indeed, to permit him to buy a Ford (presumably on the installment plan), and thus to manage, among other things, that long desired trip back to New England to visit old friends. But that didn’t happen right away. Getting used to his new job kept him jumping

He would have liked to start afresh, with a lineup of stories that he had chosen in the first place, and edited to make them more like the stories he himself wrote, in the second. He didn’t have that luxury. Tremaine had bought a number of stories, which now sat in the magazine’s inventory and had to be published. This appeared to have filled the magazine through its January 1938 issue; Campbell’s first editorial, in the December 1937 number said February would be a “mutant” issue. It didn’t say what part of the magazine would get mutated. It turned out to be the stories.

The magazine did not show the effect of a new hand at the tiller very quickly. That wasn’t John’s fault. No magazine can show the full effects of a new editorial policy overnight. Not only are there the inventory of stories bought under the old policies to work off, but it takes a while to let the contributors know what the new policies are.

What John did with the submissions that kept coming in was first to give each one a fair reading (sometimes this may not be much more than the first page; you can tell), and then divide them into two parts. The ones he didn’t have any interest in got a printed rejection slip. The ones that had something good about them got a typed note from John saying what he liked about the story and what about the story kept him from buying it. Those went back, too. But sometimes they came back again revised to the Campbell prescription and then got bought, and more frequently the next stories Campbell got from that writer were closer to his wishes. (How do I know so much about John’s reading habits? Because he described them to me, and they were so eminently sensible that, when I became a pro editor myself, I adopted them as my own.)

 
There are two points in the letters where John talks about dealings with me. Both of them are wrong. In the first one, he says I bragged to him that my Astonishing Stories sold more copies than his Astounding. That’s incorrect, though. I didn’t know about the difference in sales figures or I certainly would have bragged about it all over town.

The other is in the discussion about putting a non-Jewish pen name on the stories by Milt Rothman that I sold him as Milt’s agent. In the letters, John says he thought it better not to tell me about his reasoning because it might cause misunderstandings. But he did tell me. That led to my advising Milt to do what he said, in fact. On that one, I do have a theory to explain it. I think when he wrote the letter he hadn’t told me his reasoning, but then changed his mind and on a later occasion did tell me.

Well, this got longer and more detailed than a review should. I apologize for that, and in general for taking so long, when all I really wanted to say was if (1) you want to be an editor, or (2) if you’re interested in Campbell as a person, or (3) if you just like a good read on a science-fiction subject — why, then, this is a book for you.

 
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Fantasy Commentator 59-60

Fantasy Commentator
Sam Moskowitz and A. Langley Searles Memorial Issue, Special Double Issue, Nos. 59 & 60.
 

When John W. Campbell, Jr., washed out of MIT by failing to pass their German course, he didn’t stay in Massachusetts. Instead, he returned to his mother’s home in Orange, New Jersey. He had left some close friendships behind, though, and one of the first things he did after relocating was to write a letter to his Massachusetts friend Robert D. Swisher, a pharmaceutical chemist working for the Monsanto Corporation.

That was the first letter of many, and they were all carefully preserved, misspellings, factual errors and all, by Swisher, and then by his widow. Now they are published, under the guise of an article in the late A. Langley Searles’ fanzine Fantasy Commentator, published as a memorial tribute by Searles’ widow, Alice Becker, M.D. The issue contains nothing but the letters. Its length — 156 large pages — is within accepted book publishing standards. So let’s call it a book, the two of us, all right?

This book, then, contains all the letters John wrote to Swisher over a period of more than twenty years, from John’s early attempts at writing science-fiction stories of his own through his triumphal masterminding of the world’s best science-fiction magazine and his intoxication with L. Ron Hubbard’s invention of Dianetics, followed by his final rejection of that cause — though not of the validity of many of its principles which, called by one name or another, he apparently subscribed to until his death.

As a document bearing on these matters, this is not merely a good, readable book. It is an invaluable one, and the credit for the clarity and completeness that make it such a pleasure to read belongs in no small part to its editor, the late Sam Moskowitz. The source material Sam had to work with was a clutch of actual letters, many of them handwritten and some not easy to decipher, and a considerable fraction of them comprising little more than technical descriptions of the cameras, lenses and films for which the two correspondents shared an affection. All of that photography material Moskowitz skillfully redacted away. What remains is the next best thing to a detailed personal diary of the life of a stand-out major figure in the field of science fiction.

Continue reading ‘The Campbell Letters’ »

International Observer, Jan. 1937

One of my early publishing efforts, the clubzine of the International Scientific Association, which was neither international nor scientific.

So many people were happy when I posted my piece on what it was like to work for a pulp house in the early ’40s that I decided to do the same for every publisher I worked for. That’s a fair-sized list of over a span of four decades — five if you count the fanzine publishing I started with, and I do. This is the list:

1930s Fanzine publishing
Early 1940s Popular Publications
1948–1953 Popular Science books
1953–1960 Ballantine Books
1960–1967 Galaxy
1972 Ace Books
1973–1980 Bantam Books

The list is only approximate, because that’s what some of my jobs were, approximate. I was never on the payroll at Ballantine, but in the course of delivering, let me see, 14 books to them over maybe a dozen years I might as well have been. (And by the way, don’t pay too much attention to the dates. I was actually editing Galaxy for close to ten years before I put my name on the masthead because I thought, or hoped, that Horace would recover from his medical problems and come back. And I wasn’t with Ace for a full year. It was maybe seven months before I just couldn’t stand it any longer.)

 
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