The Way the Future Blogs

Unwashed beans of kopi luwak, the world's costliest coffee.

Q: What is the main source of supply of the world’s most expensive coffee?

A: Cat poop.

Now I don’t want you to think that any old alley cat’s droppings taste wonderful if steeped in hot water and served in a china cup. I’m pretty sure they don’t, although, to be honest with you, I’ve never put it to the test and never intend to.

For one thing, for the deluxe coffee you need a particular kind of a cat. They’re called palm civet cats and they grow wild in certain parts of southeast Asia. Then it’s best if you start looking for them in the vicinity of large coffee plantations, because once you have your stock of civet cats, what you want to feed them on is ripe coffee berries from the trees.

That makes the civet cats happy because they love the taste of coffee berries, and it then makes you happy because after the berries have traveled through the animal’s digestive tract the pulpy part of the berry is digested away and what is left is the hard, indigestible coffee bean, which you can sell for as much as $227 a pound.

Something else happens to the bean on its way to the litter box. The bean is fermented in the bowels of the animal with its enzymes and stomach acids. What the coffee drinker gets after it is roasted and ground is a brew that is described as “smooth, chocolaty and devoid of any bitter aftertaste.” And, oh, yes, worth a couple of hundred bucks a pound.

However, you must exercise care. Unscrupulous farmers have been caught gluing undigested coffee beans to just any old civet cat BMs, and the resulting cuppa is not said to be worth very much at all.

And — yes — here too, I think I’ll just have some tea.

I really love lobster bisque but only have it rarely because heavy cream is a no-no for me and the bisque is nothing without it. Now I think I may not have it at all ever again, because I just found out how they make it.

First you cook your lobster (which is to say, you boil it alive). If that hasn’t already managed to spoil your appetite, you then pick out all the lobster meat and set it aside, then you crack up the shells and boil them some more to get the extra flavor for your stock.

What’s left on the table is a mass of what look like lobster intestines still filled with what intestines are usually filled with. Don’t make the mistake of throwing any of that away, the recipe says. Just add it to the stock. It contains a very intense flavor.

Oh, I bet it does, but, you know, I’m not as hungry as I thought I was. I’ll just have the small green salad.

 
    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 post:

• Fred’s Distilled Writing Wisdom, Part 1

When I was ten years old, my mother used to have me skate down to the butchers’ on Flatbush Avenue and, for 39 cents, get half a pound of ground round steak and “watch him grind it.”

Then time passed. We got all the advantages of modern technology as they came along. By now, the butchers’ was in the local supermarket and the “ground round” was in pre-measured and plastic-wrapped packages, the healthiest-looking, reddest already ground meat you ever saw, and apart from the odd case of staph or Escherichia coli now and then, everything was just as modern and as sanitary as it could be, and of course it wasn’t 39 cents any more, either.

The other thing we knew, in a vague, generalized sort of way, was that it really wasn’t exactly round steak any more, either. That supermarket stuff is prepared in vast quantities in ground meat factories. Not all of it begins as any kind of steak; it is lips, or tripe, or stomachs, or hearts, or it is little bits and pieces of meat left over from preparing steaks and chops, and these little pieces are “bonded” together (we don’t say “glued”) with things called “meat emulsions” and “extracted myofibril proteins” to make bigger pieces which can be sliced and diced like what we know as “roasts.”

All of this, of course, sounds unpleasant, but when you buy a half-pound package of it, it fries up like any other hamburger and tastes just about the same.

However.

What you don’t know is how much of this beef (or this pork) is produced in the so-called concentrated animal feeding operations, or CAFOs, with the addition of antibiotics as a regular part of their diet. This you really don’t want. It’s bad for your health. More significant (to me, anyway) is that it’s also bad for mine, because if you eat that sort of thing you help to evolve antibiotic-resistant microorganisms and other nuisances which wind up in other people’s bodies, including mine.

Bearing all this in mind, we decided we really wanted to know what we were eating, and so we elected to grind our own meat. We first bought the good old-fashioned kind of grinder that you attach to something really solid and power with the muscles of your strong right arm. However, that was harder work than we effete moderns were used to, so we gave that one away and invested in an electric model. That does the job quickly and comfortably and we expect to stay with it.

Another advantage to grinding our own chopped steak is that it allows us to control just how much fat we want to grind in with the lean meat. You want a decent amount of fat (”The fat’s where the flavor is,” remember), and the best way to get the proportions right is trial and error. The true gourmets among us actually might want different proportions for different dishes, but if you are one such, for that you are on your own.

So grind in good health, dear friends, and next time you’re making meatloaf, you can invite us over.

Gertrude and Isaac Asimov. (Photo by Jay Kay Klein.)

When World War II ended, Isaac Asimov’s stint as a war research scientist came to an end. Then he said good-bye (or at least au revoir to his associate researchers, because he was pretty sure to be seeing at least Robert Heinlein and L. Sprague de Camp again) and headed for the normalcy of a return to civilian life.

That, however, was not to be. His draft board had other ideas. His work at the Philadelphia Navy Yard had preserved him from being called up as long as he was doing the work. Now he wasn’t doing it any more. He was quickly promoted to become classified 1A in the Selective Service’s eyes, and shortly thereafter promoted again, now becoming Asimov, Pvt Isaac.

This was not a development Isaac had sought. Worse, it soon became a development he couldn’t live with at all, because the Army had a plan for him. With his education and his record of writing about the future, he was a natural to be selected as an observer at some upcoming military tests.

They were not tests Isaac wanted to observe. Indeed, he saw nothing but trouble, bad trouble, if that scenario was followed.

The USA had invented the atomic bomb and used it to speed the end of the war. Now it wanted to set off test bombs under experimental conditions, several of the things, so it could learn as quickly as possible just how to use this ultimate weapon. The higher-ups had scheduled several such tests, far off in the islands of the Pacific Ocean, and the plan was that formations of GIs would be present at every firing — to observe and protect, they said, but the suspicious-minded wondered if the tests were also likely to provide useful information about the effects of radiation on healthy young men.

There was also a political problem. The Soviet Union, America’s most potent wartime ally, had with the peace become its deadliest rival. The papers were filling up with lurid stories about Soviet spies lurking everywhere, trying to steal America’s secrets — trying hardest to learn everything that could be learned about the atom bomb and how to make one of their own. And, Private Asimov, in what country did you say you were born?

Private Asimov pointed out that he had warned of this problem to every authority figure he could find who would listen. It took a while before he could find one who was willing to do that, and by then he was well on his way to the test site. But then things improved. Isaac not only was taken off the A-bomb detail, his draft status was reviewed and he was a civilian again.

There was one bad feature. They insisted on flying him back to the States. But Isaac put up with that, confident that if he survived that ordeal he would never have to get in a plane again.

 
Since, being Jewish, Isaac was not going to be allowed to attend any decent medical school, he had no hope of ever putting the letters M.D. after his name. Next best, he thought, would be a Ph.D., and the discipline that he wanted to get the award in, he decided, was organic chemistry. And while he was working toward that goal there was one other accomplishment he wanted to achieve. He wanted to get married, because Isaac had a girl.

Her name was Gertrude Blugerman. If you picked out the letters D-E-A-R-E-S-T on your telephone keypad in those years she was the person (assuming you were dialing in New York City) who would answer.

I think that tells you an important fact about Isaac right there. Oh, of course it was only dumb luck that gave Isaac’s girl an endearing phone number. That sort of pure chance could have happened to anyone. But if it had happened to almost any other young man, it is likely that neither he nor the girl would ever have known. It takes a certain kind of mind to ring up changes on all the numbers and phrases and facts that come one’s way — the kind of mind that Isaac Asimov was born with, and that made him the writer he was.

All this time, of course, Isaac was writing science fiction, mostly for John Campbell but now and then for others. He had already established the two main currents in his fiction: The positronic robot stories (Why were they positronic? I asked him that once and he said, “Because the positron had just been added to the list of particles and no one knew what it could and couldn’t do.”) and the Foundation series.

So what else can I tell you about Isaac Asimov at this stage? His favorite breakfast was a can of Campbell’s vegetable-beef soup. As far as his general dietary choices were concerned, his family didn’t keep kosher but were not very adventurous in diet. But Isaac liked to try new things when he and I ate out together. Not all experiments were successes, When the two of us lunched one day and discovered the restaurant was offering soft-shell crabs, which neither of us had ever tried, we gave them a shot. Once was enough for me — I didn’t like their slippery feel in my mouth — but Isaac’s verdict was that he didn’t really like them but might give them another chance some time.

(More parts to come, as I write them.)

 
Related posts:

• Isaac
• Isaac, Part 2
• Isaac, Part 4
• Isaac, Part 5
• Russians, Jews and Isaac

H. Beam Piper, 1957.

For a while, H. Beam Piper was one of the clients of my literary agency in the late 1950s. He had first attracted attention with his story “He Walked Around the Horses,” about a man who, having done that, apparently disappeared into another reality. But perhaps he is best known for his successful “Little Fuzzy” stories

Piper was a railroad man from birth. He lived in the Western Pennsylvania rail centers of those great continent-spanning lines that appeared after the Civil War. That war was important to Beam. He had strong feelings about such concepts as heroism and personal honor, and he took sides. The side he favored was the slaveholding but militarily exciting Confederacy. Mostly self-educated, Beam was thrilled by the exploits of. those dashing Rebel commanders, in particular by John Mosby, the Southron cavalry officer who made parts of Virginia uninhabitable by Federal troops or sympathizers.

When Beam mentioned to me that he had, on his own time and just for the fun of it, written a lengthy work about his hero, I reminded him of my Basic Maxim No. 1: “Writers write mostly for the fun of it. Agents exist to see they get money for having fun.” So he turned the finished piece over to me, and I promptly sold “Rebel Raider” for a decent amount of money.

With things like that and the better prices I was able to negotiate for his science fiction, Beam was enjoying a modest prosperity. He formed the habit of coming to New York once or twice a month. His first stop was usually at my literary agency office on Fifth Avenue just across from Madison Square, where we would usually pick up a few other writers to go out for dinner.

Beam had had little experience with exotic eats — high cuisine was not apparently popular in Altoona at that time — and so loved to experiment with menu items. Not always happily. When he ordered a dish that was meant to contain uncooked Italian ham, he sent it back to be properly fried. He wasn’t deeply into nutrition, either. When a waiter would bring him an entree with crisp green and red vegetables artistically surrounding it on the platter, Beam might spread his hands over his eyes and cry, “Vittamins! Vittamins! Take the foul things away!”

That happy state continued for some time, and then I closed the literary agency down and plunged into the line of work God (or Someone) had obviously intended for me all along, the telling of stories. I saw less of a lot of writers who had been clients, especially out-of-towners like Beam.

Stories floated in from Western Pennsylvania, first astonishingly that he had quit his job. That was a little worrying, in the case of a lifelong old railroad man like Beam, but it indicated good news. I had fixed him up with a new agent, my old friend (and one time boss at Popular Publications) Rogers Terrill. I was glad to see that things were working out for both of them. . . .

And then another story came in. Beam had gotten married!

That was a major shocker. In all the time I had known him, Beam had never shown the slightest flicker of sexual interest in any female. (Or, I hasten to say, in any male, either.) And the wedding seemed to have taken place — wait for it — in Paris. In Paris! In the city of lights, the home to romantics and lovers and all the other things that Beam had spent his life proving he was not.

It was impossible. But there it was.

That was all we knew. It seemed that none of us in our once-in-a-while-dining-together circle had maintained close contact with Beam, so we knew very few details.

Then we heard nothing much at all for quite a while. Then what we did hear was about as bad as it could be.

 
I heard the first part of the bad news right away. A neighbor called to tell me that Rogers Terrill had just died, she thought of a heart attack. That made sense. Rog’s Jersey shore house had about as much lawn to mow as mine did, which was the better fraction of an acre. Taking account how his face blanched and his limbs began to quiver when he cut it, Rog’s wife had long beseeched him to hire one of the neighborhood teenagers to handle that chore, but Rog was stubborn.

We arranged the sending of condolence cards and went on with our lives, and then, not very long later, we heard the rest of it. Beam was dead, too. He had shot himself.

Bit by bit, the rest of the bad news piled on. There had been a divorce, Beam had settled everything he owned in joint accounts with his wife, but now the lawyers were barring access to the funds by either party. Rog had failed to provide for a plan to carry on payments to his authors as checks came in in the event of his death, so money was silting up in trust funds that could not be tapped by humans until these other packs of lawyers came to an agreement, and Beam ran out of money.

There was no reason for that to happen. I wasn’t then particularly well off but I would, any one of us would, have been happy to go to any necessary trouble in order to front him enough for his three hots a day as needed to keep him alive.

But that couldn’t be. Remember Beam’s concepts of personal honor. He was incapable of asking for that kind of help. He was incapable of letting anyone know how desperately he needed it. He did still have two resources. One was a windowsill where pigeons came down to coo and flutter. The other was a 22-caliber handgun with a few rounds left in it.

(This is the story as I first heard it from one of Beam’s relatives. I have since heard slightly different versions from others, but I’ll stick with what I heard first.)

Every evening, then, Beam would open the window. When a fat pigeon landed there, he would shoot it in the head, clean it, pluck it and broil it in his little gas flame, and that would be his dinner. And when he had come down to a single remaining round, he put it in his own brain.

Doc and Jeanie Smith, 1958.

When I first began obsessively reading science fiction, at about the age of ten, all sf writers were as gods to me. Some, however, were bigger gods than others, my holiest trinity being Edgar Rice Burroughs, H. G. Wells and Edward Elmer Smith, Ph. D. — with Doc Smith at the top of the heap because he was the one who wrote the Skylark novels.

In those days, I couldn’t afford the exorbitant cover price of an sf magazine, which could run as much as 25¢ apiece. I got my fixes in a second-hand magazine store. These were Depression days, remember, and there were second-hand everything stores all over the place. There the magazines might sell for a dime, and the storekeeper would buy them back from you for a nickel when you were through if you liked. (But what fan would sell off parts of his collection?) The trouble with getting your magazines that way was that you spotted issues you hadn’t read in no particular order in the bins, which was an annoyance when you were reading serials.

And serials were what Doc Smith was good at. First there was the Skylark trilogy, then the Lensman novels. Every couple of years, Doc would give us another masterpiece of interstellar adventure, with heroes in vast machines going even vaster distances to find bizarre aliens — to befriend or, if they were evil, to triumph over. Does that sound at all recognizable? You bet it does, because it was in the fertile mind of Doc Smith that the very first space opera was born, and every episode of Star Trek, Star Wars and a host of others owe him a debt they can never repay.
 

Doc first wrote The Skylark of Space as early as the teens of the young 20th century, just for the fun of it. He did try it on a publisher or two, who had no interest in this weird tale — perhaps, his bride, Jeanie, conjectured, because the story was all big machines and strong, single men with little human interest. Doc conceded the possibility but disqualified himself from trying to repair the gap.

However, there was that nice Mrs. Garby down the street. When approached, she agreed to write the necessary pages of romantic chat between the fictional inventor of atomic energy, space travel and much else, Richard Ballinger Seaton, and his beloved longtime fiancée, Dorothy Vaneman. Doc inserted her episodes of love stuff where appropriate, and that is why the appropriate byline for The Skylark of Space is “by Edward E. Smith, Ph. D., and Lee Hawkins Garby.” (In the later books Doc plucked up his courage and wrote the boy-girl material himself. I can’t tell the difference.) But, alas, even with human interest no one seemed to want it, so Doc retired it to a bottom desk drawer. There it stayed, almost forgotten, for years. . . .

Until, one day, Doc stopped by the general store to pick up some necessities. He noticed a new magazine called Amazing Stories. On inspection, it appeared to be publishing stories about the future. He hastily exhumed the rejected story and sent it off to them, they bought it at once … and a new kind of fiction was born.

Over the years, many another sf writer tried to copy Doc’s style of celebration of not-yet-existent science and super-technology. None really succeeded, perhaps because they were not naïve enough to believe in the stories they were writing. John Campbell, in the years before he turned to editing Astounding/Analog, perhaps came closest, though his attempts, like Doc’s, didn’t seem to concern real, live people. Perhaps what he needed was his own Mrs. Garby.

Of course, the simple concept of Mankind’s vast super-weapons duking it out with other, alien super-weapons all by itself was easier to borrow and there’s plenty of that still around. Fortunately for all of us, because if we didn’t have that what would we watch on television?
 

Doc’s doctorate was in chemistry. His particular specialty was in food chemistry, with particular attention to the chemistry of the doughnut, but wheaten edibles of all kinds were within his purview.

I know this because Doc’s wonderful daughter, Verna Smith Trestrail, with her nearly as wonderful husband, Albert, became good friends with Betty Anne and me. How good? Well, when the Trestrails complained that we always stayed at a Holiday Inn instead of at their house when we drove to central Indiana for our once-a-summer visit with them, and we said it was because the Holiday Inn had a pool, what did they do? Why, they put in a pool for the next summer.

Albert’s special claim to our affection came in several parts. One was that he had built in his basement the finest privately owned model railroad layout I have ever seen, complete with a lake, a steel mill and tracks for four or five trains at a time. Another was his history. He and Verna had met when he was her high-school teacher. Albert was very proper with his student, but as soon as Verna was 18, he swept her off her feet and married her before she could get away. Not that either of them ever regretted it. They had as perfect a marriage as any couple I have ever known until Verna died and Albert followed.

Verna looked like any pretty, middle-aged — and empty-headed — Hoosier housewife until you found out that she had a towering measured IQ, higher than either my own or Isaac Asimov’s. Quite a few of the highest-IQ people I’ve known (no, not Isaac. Or, for that matter, me) have been somewhat quirky or stand-offish, but Verna was as sweet as apple butter. She was also a great cook and, as mentioned, owned a stock of her father the baking and frying chemist’s personal recipes. Perhaps formulae would be a better term, because they not only specified what kind of wheat to use and how to grind the flour, but even at what time of year the crop should have been planted. And when Verna made his flapjacks for us, they were worth the trouble.

 
Doc retired not long after World War II. The kids were grown, and Doc and Jeanie moved to Florida, where they took up residence in a double-width trailer, in a park near Tampa. They actually lived in that trailer only nine months of the year. When Florida began to warm up for summer the two of them would transfer to their other trailer, slimmer and more roadable, and drive clear across the country to their summer stamping grounds on the Oregon coast.

Around that time, local science-fiction cons began to spring up all over the place. Doc discovered that he enjoyed them. So did I. We met pretty often at one or another of them, and we became friends.

Although the super-high-tech, atomic-powered spacecraft that Doc wrote about were the size of ocean liners and flitted from one star system to another at considerable multiples of the speed of light, their creator was modest in his modes of travel. A light pickup truck was good enough for the Smiths.

When, having been invited to the Cape to watch the launch of America’s mightiest space rocket, the Saturn 5, I decided to make a detour on the other side of the Florida peninsula for a visit with the Smiths, I was sure Doc would want to hear all about what the space agency was planning for this new titan. He did, and that gave me an idea. My invitation included a guest if I chose to bring one, so why shouldn’t that one be Doc Smith? I mentioned to him that it was only a short hop from Tampa to Orlando; he could share my hotel room that night and see the launch in the morning.

But Doc looked startled at that idea, then firmly negative. Jeanie didn’t like the idea of him going up in airplanes, and, no, he had never flown in one

Reluctantly I gave up the idea, but it would have been fun.

(End of Part One. Part Two will follow as soon as I write it.)

Donald Wollheim wasn’t satisfied with having his first story published in Wonder Stories. He wanted to be paid, too.

Hugo Gernsback wasn’t paying his writers. Johnny Michel had finally collected his five dollars, but not without endless annoyance, and Donald Wollheim had not been paid in full even then. They had come to the Brooklyn Science Fiction League to tell us their stories, and to seek vengeance.

All this inside information was revelatory to me. It was more exciting than anything that had happened to me before, at least since I discovered science fiction, maybe since I discovered sex. I don’t know what airy-fairy assumptions I had made about the mechanisms by which real authors supported themselves through their work. I suppose, if I thought at all, I guessed that once your work appeared in print, the government, or somebody, handed you a blank checkbook, which you filled out as you needed, or chose to want, their money.

Now that I have had some years of dealing with publishers on my own, and some of them even more reluctant than Hugo to cough up the scratch, I can see the picture in full holographic 3-D. Gernsback was not alone. Other publishers have been known to stiff their authors.

It is a matter of how much money is coming in, call it X, and how much is going out:Y. When X ≥ Y, all is serene. But when X < Y, then you have the problem of eleven holes in the dike and only ten fingers to plug them with. When you can’t pay all the bills, which bills do you pay? You placate the people who can hurt you the most. You pay your own salary, or at least enough to keep you going. You pay the printers, because if you don’t they won’t print your next issue, and then you’re out of business. You pay your paper supplier, because if you don’t he won’t give the printer any paper to print your next issue on. Out of what’s left you pay at least enough of your taxes, rent, and utilities to keep things from being turned off. And then you start to think about the writers.

All this is, of course, immoral. Without the writers none of the other things matter in the least. But it is the way it is, and one reason for it is that writers do not write only for money. They write to be published. All writers like to be paid for what they write, but few would stop writing just because the money was sparse or hard to collect. And those few are easily and instantly replaced out of the immense pool of millions, literally millions, of would-be writers who would sell their sisters to Buenos Aires for the chance to have one story published anywhere, paid for or not.

Of course, the stories written by the pros are probably likely to sell more copies for you than the cleaned-up salvage from the slush pile. But maybe you can’t afford to be choosy. If given the choice between publishing a magazine with so-so stories (but stories you can get) and a magazine made up of blank pages because the really good writers won’t give you any more credit, which would you do? You would probably hold your nose and publish. If you didn’t, your place, too, might well be taken by some would-be publisher ready to fill the vacuum.

Not all publishers think that way — in fact, let me put on the record right now that the business ethics in publishing seems to me a lot more praiseworthy than in most industries — but some do, even in the best of times. And in the Depression that was the Law of Nature, red in tooth and fang.

Clayton Magazines’ Astounding had paid its writers punctually and well. Clayton’s Astounding also had gone bust in 1933. Amazing and Wonder were a whole lot less benevolent, but they were still alive.

It’s interesting to try to calculate just how much money Gernsback traded the goodwill of his writers for. It probably was not very much — in the thousands, but probably not in the tens of thousands. But then there wasn’t all that much money around in the science-fiction field at that time. In the mid-’30s there were only three science-fiction magazines, often bimonthly.

I estimate that the total amount paid to writers by all three of them in an average year was not much over fifteen thousand dollars. All owing for pseudonyms, there may have been as many as fifty individuals selling stories to one or another of them in that period, and what they had to divide among themselves in return for feeding all us famished fans the fiction we lived on was something like six dollars per week per writer.

I could have made that calculation at the time, if I had wanted to. I didn’t want to. I didn’t care.

Listening to the wisdom that flowed from Johnny Michel and Don Wollheim was like standing on the mountain, staff in hand, while the Voice spoke from the burning bush. I could not believe I was so lucky, and I wanted to be part of it.

I came back from the meetings and reported all this Gospel to Dirk Wylie, who cursed his parents for settling in Queens Village, so far from Bay Ridge and the Brooklyn Science Fiction League, and worked out stratagems for making the next meetings with me. We came. We sat at the feet of the masters, in one soda fountain or another, while the ice cream melted in our sodas and our malteds went flat, and we resolved to be just like them.

And when it turned out that Johnny and Donald were inviting us to join a crusade to set these iniquities aright, we took it as not debatable that we should sign up at once. What Donald proposed was that all we SFL members should secede, start our own clubs, assert our independence of The Evil One, and let the world know him for what he was.

It sounded great. We thrilled to the idea of causing so much commotion and trouble for Gernsback that he would perforce reform. Or kill himself. Or be driven from the society of human beings — choice of any or all of the above — and so we entered into the great world of science-fiction feuds.

 
Related posts:

• The Quadrumvirate
• Let There Be Fandom: The Science Fiction League
• Let There Be Fandom, Part 2: School Days
• Let There Be Fandom, Part 3: A Brooklyn Boyhood
• Let There Be Fandom, Part 4: New Deal, New Worlds
• Let There Be Fandom, Part 5: The Big League
• Let There Be Fandom, Part 6: The Pros!