The Way the Future Blogs

    Murray Leinster
 

Will F. Jenkins, who sometimes chose to sign his stories with the pseudonym Murray Leinster and sometimes didn’t, was one of the most influential science-fiction writers ever, and I want to write something about him. What’s wrong with that simple ambition is that I didn’t know him very well. In fact, I don’t think —

1. that he and I were ever in the same room, or,

2. that I ever bought a story from him during the decades in which I was successively working as an editor for Popular Publications, PopularScience/Outdoor Life, Galaxy, Ace and Bantam, and was regularly buying work from just about every other significant sf writer alive.

But I do have some special knowledge of Jenkins/Leinster from other sources. One of them is the same for me as it is for any other fan. I’ve read a lot of his stories, and what stories they are! There’s “Sidewise in Time,” from the June, 1934, Astounding, which was the very first parallel-time story, and so provided interesting new story explorations to be made in all of the hundreds and thousands of paratime stories that followed. There was “A Logic Named Joe,” which got just about everything right about the most important invention of the 20th century except one thing, the name of the logics. (When they came true, we called them computers.) And there was “First Contact,” the first science-fiction story to think through the problems you encounter when your exploration ship comes across a ship of intelligent aliens exploring the same planet.

The thing about Will Jenkins’s stories is that there are so many of them, over 1,500 short pieces, both articles and short stories, that we forget just how good they are. He even started near the top, making his first sale, a short story called “The Foreigner,” to the classiest magazine of the time, the legendary The Smart Set, edited by H. L. Mencken and George Jean Nathan. He kept on appearing in it, too, so frequently — indeed sometimes with more than one story in and issue — that he had to create the pen name “Murray Leinster” to attach to the surplus. Science fiction wasn’t common in America yet, but Will began writing it early with stories for Argosy like “The Runaway Skyscraper,” which canny old Hugo Gernsback reprinted in Amazing as soon as he started it.

 
As I’ve said, I never met Will Jenkins and, to tell the truth, I’m not at all sure that we would ever have become close friends if I had. After all, his choice for the greatest man who ever lived was the Confederate general Robert E. Lee, while my own would have been President Abraham Lincoln. We might have had to fight The War Between the States over again a few times first.

All the same there’s a lot to admire in Will Jenkins, as I’ve discovered in reading the unpublished biography of the man that two of his daughters, Jo-an J. Evans and Wenllian J. Stallings, have just finished writing. That is my source for a good deal of what I know about him.

What I know is that, in addition to being a talented and seminal writer, he was a good father, a kind human being and a talented inventor. Perhaps his most successful invention was a system of forward-projecting surround scenes when shooting a movie, which sounds to me a lot like what Stanley Kubrick was experimenting with when he shot the opening ape-men scenes in 2001: A Space Odyssey.

I’ll tell you one thing. If I were still drudging away as a book editor, I would quickly write a contract for this book, perhaps plumping it out by adding “Sidewise in Time” and “A Logic Named Joe” to show what I was talking about. Then I would get it out in the stores so everybody could read the facts about this commendable man, including his reasons for giving his four daughters such, ah, distinctive names.

    Isaac Asimov, ca. 1934.

The way I met Isaac Asimov was the way I met almost everybody else who became not only important to me as a teenager but a lifelong friend. Like every other kid in the world, I met a lot of other kids in those years from, say, 14 to 19 — in school, in the neighborhood, in the YCL, in the (don’t laugh) Olivet Presbyterian Church Thursday afternoon teenagers’ class, which I attended until I was 17. But those friends came and went and were gone, while many of the ones I met through fandom were friends all their lives — Isaac, Damon Knight, Cyril Kornbluth, Dirk Wylie, Dick Wilson. In fact, there are one or two — Jack Robins, Dave Kyle — whom I still count as friends, seventy-odd years later, although none of us are very mobile these days and it’s been a while since we got together.

I digress. (In fact, you may have noticed, I do it often.) In those days, the thing was that we kids had been captured by science fiction. And when a burgeoning fandom gave us a chance to meet other captives, we signed up at once.

Like most of us in the New York area, Isaac’s first clue that there was a way to join others came from reading Hugo Gernsback’s magazine, Wonder Stories. In an effort to improve sales, Gernsback had started a correspondence club, the Science Fiction League, and allowed some members to charter local chapters. One, the Q (for Queens) SFL, was in the New York area and was the point of first contact for most of the area’s newbies because they’d read about it in the magazine.

So the QSFL was where Isaac first showed up, but we Futurians kept an eye on their new blood. Anyone who turned up with an interest in writing sf as well as reading it, we kidnapped; that was one of the reasons the QSFL’s heads, James Taurasi, Will Sykora and Sam Moskowitz, weren’t real fond of us. And Isaac made it clear that he was definitely going to become an sf professional writer, as soon as he figured out how.

 
At that time Isaac didn’t give many indications that he would achieve that ambition, much less that he would become I*S*A*A*C  A*S*I*M*O*V. He was, if anything, deferential. Isaac was born Russian-Jewish, brought to America as a small child when his father, who had immigrated early, was at last able to send for his family.

Many of the Futurians had already begun to write sf stories, showing the mss. to each other and talking about the stories’ successes (few) and flaws (many). One or two of us had actually made some tiny sales. (Including me. I had had a truly sappy poem published in Amazing Stories.) A few of us had begun teaming up as collaborators. Isaac yearned, but he had to miss most of that. His parents owned a candy store at the eastern edge of Prospect Park, and their children had to help with the work of running it. Isaac got to our meetings when he could, but seldom to the writing sessions.

 
Continue reading ‘Isaac
Part 1 of I don’t know how many’ »

Now that I’m getting marginally better at one-hand typing, I can respond a little better to some of your remarks. In particular there were a ton (relatively speaking) of responses to my piece on the Science Fiction League, and two that I just can’t not reply to.

One is from a woman from Singapore whom I met there in 1985 and who is not named Han May. That, however, is the pen name she attached to her novel, Star Sapphire, which just happens to be the only science-fiction novel ever written by a Singaporean. Grand to hear from you, May. (And the rest of you please note that this blog may not be the most popular ever, but it sure does get to some far-off places.)

The other is from Jeff Berkwits (note also that I’m getting braver about using names), who wants to know something about the other science fiction league, the one that hardly anybody else has heard of.

This was a phenomenon of the early 1950s and it consisted of two young men who had a plan to bring science fiction to television in a big way. The design was to get as many of the field’s top writers into a syndicate (yes, I think they called it the Science Fiction League, disregarding Hugo Gernsback’s prior Wonder Stories club), which would then function sort of the way ASCAP and BMI (if those are unfamiliar to you, Google them) do for writers and composers of popular songs. And to get it off the ground, they had written to all the top sf writers in the New York area inviting them to come to an organization meeting in Fletcher Pratt’s apartment on West 58th Street.

Around 20 writers responded with interest. Around nine of them showed up at Fletcher’s at the appointed hour. The other 11 or so (all this is from memory and the numbers are probably not exact. But close) didn’t come in person. They sent me. At the time I was riding high with my literary agency and doing pretty well with it. I represented a clear majority of the best writers in the field; and all the writers who were my clients asked me what to do, and I said I would handle it.

Unfortunately, there was not a great deal to handle. The two organizers were personable and articulate, but they had very little tangible to offer. Their idea did have some possibilities, and we spent some hours discussing them. But at the end, they had neither on-signing money to offer — and that was essential, since signing would have caused problems for some who already had interest from actual producers — nor the names of any producers who were interested in acquiring rights to any of the assembled writers’ properties. I told them that, as far as I was concerned, if they could get any producer to express interest in working with their syndicate I would be willing to reopen the discussion for my writers, but that never happened,

 
Related post:
Let There Be Fandom: The Science Fiction League

(*Before Campbell)

Astounding No. 1, January 1930

Astounding/Analog had two (or three) editors before John W. Campbell, Jr., came along with his magnolious “Golden Age” of people like Isaac Asimov and Robert A. Heinlein and all. However, none of those original editors were the ones that made the magazine great. That task was left for John Campbell, on his way to becoming what some authorities (ahem!) would call the greatest editor science fiction has ever had. (I’ll say more about that later.)

The original Astounding Stories of Super Science was the creation of a rather small New York pulp magazine publishing company called Clayton, which, sometime in the vertiginous year of 1929, elected to get bigger by adding some new titles. It was a reasonably intelligent decision, considering that they didn’t know what was going to happen to Wall Street that October, but it had one built-in flaw. It was only for eleven new titles. It should have been for twelve.

This requirement was an artifact of the way pulp magazines were printed. The text interiors were printed on the big black-and-white rotary presses on the cheapest available woodpulp paper. The covers, however, were printed in full color on glossy paper, and the most economical way to do that was to print them twelve at a time. If they were to proceed with only eleven titles it would mean leaving the twelfth space on the special paper empty and throwing away the part of that expensive paper not used.

Since printing a cover was a significant fraction of the cost of printing a pulp magazine it would be a pity to waste the cost of one. It made more sense simply to add a twelfth magazine. The question was, what kind of pulp should it be?

I don’t know who suggested that it be science fiction. Most authorities think it was Harry Bates, but I have a hunch that it might have been a man named Douglas Merriweather Dold. He is sometimes referred to in the old records as the editor of the new magazine but in fact was probably only an assistant, and was also the brother of the science-fiction cover artist (William) Elliott Dold. And I think that what Doug said was something like, “Tell you what we could do. We could put out a book” — all pulp editors of a certain vintage called their magazines books, perhaps because they wished they were— “of this scientifiction stuff that old Hugo Gernsback is doing. We could call it something like Astounding Stories of Super Science.”

And so they did, and so the new magazine came out into one of the worst years for publishing (or for almost anything else in the annals of American business.) in history It was the beginning of what they called the Great Depression.

 
In spite of the calamitous economic conditions, the new magazine survived. The actual editor was that same previously mentioned Harry Bates, who studied the stories in Gernsback’s magazines and the often better ones that from time to time appeared in all-fiction magazines like Argosy, and from them all derived an editorial policy that might have gone something like: “Action-adventure stories that simply could not happen here and now.”

That seemed to be a policy congenial for the writers. Ray Cummings, Murray Leinster, Lilith Lorraine and Captain S.P. Meek helped to fill the issues, and were generally happy to see some of their work in the new Astounding. One reason for that was the fact that all twelve of the new magazines had been planned in the prosperous and optimistic boom times of 1929 before the October crash. So as a matter of policy, the new magazines paid the writers not only well but, even more important, paid them promptly on acceptance.

Given a better economical climate, the Clayton Astounding might have endured a good deal longer, for it had some pretty good stories and even one or two that have to be called classics, like Farewell to the Master” (aka “The Day the Earth Stood Still,” by Harry Bates himself). Indeed, it was not, or at least it was not directly, the Great Depression that did it in, It was only that Clayton, foreseeing that some crippling charges would be coming due from their printer, sought to forestall them by the bizarre expedient of buying up the printing company first. It was a bold move. It didn’t work. It had required signing some notes, and when the notes came due, Clayton didn’t have the resources to meet them. Then they were out of business.

So for a bit, Astounding Stories — the trailing words “of Super Science” had been dropped after the first year — lay dormant. When Harry Bates discovered that there were enough stories in the inventory and enough printing materials, already bought and paid for, for one more issue, he promptly brought it out, dated March, 1933. Then nothing, until the larger — and solvent! — company of Street & Smith decided to buy it, and Astounding was reborn.

 
To be continued. . . .

 
Related post:
Astounding Years 30–37 BC: Street & Smith

“Homo artificialis” as conceived by Joseph H. Kraus & H. Winfeld Secor in 1924, from Hugo Gernsback’s Science and Invention Magazine. (Via davidszondy.com)

So I was feeling pretty good, this day a few weeks ago, and I thought it was about time that I got back to the three-times-a-week cardiovascular exercise group I’d been faithfully working out with since around the year 2001. That is going on nine years. It is also, I believe, the principal reason I’m still alive now. Of course, since I’ve been pretty much housebound for most of this year with one confounded thing after another, I couldn’t get there. So I had to start all over again like a rookie.

I made an appointment and got over to the place and had a nice talk with Rose, who is now the head rehab nurse. All went well. We settled on when, where and what, exactly, I would be doing, and then Rose took my vital signs. And then it all fell apart. My heart rate was 41.

This is not a pulse that is compatible with staying alive for very long. So Rose called Adrian Deme, my new primary-care doctor. He told her to get me to an ER for evaluation. And next thing you know, I was in a hospital bed getting ready for a pacemaker.

 
Actually it wasn’t quite that fast. There were a few little annoyances they had to track down and fix first, but then it was straightforward. A pacemaker implant requires cutting a little hidey-hole into the flesh of your chest just under the collarbone, tucking the little electroshock-emitting gadget in there, with its powerful little battery. Then they run a wire from the gadget to your heart. The wire ends in something like a tiny ordinary wood screw, which the surgeon screws into the flesh of your heart with something like a tiny screwdriver. Since he can’t see through the meat and blood he has to operate this by x-ray. Then, when he gets it well screwed, he closes you up and you’re done.

Before you get to that point, though, they wheel you into the operating room, which you are not overjoyed to discover is really chilly. They keep it that way to discourage germs, and they won’t let you put on a sweater, Then the nurse spreads some soap on your bare chest and scrubs it vigorously. When she gets it the cleanest it has ever been, she spreads a fresh batch of soap on your chest and repeats the process. She does this three times. Then the surgeon steps up and starts to cut.

Were you thinking that might hurt? It doesn’t. You don’t feel any pain. At some time when you weren’t looking the anesthesiologist has put that whole area of your chest to sleep. You do feel that there is somebody doing all kinds of unexpected things down there, and you aren’t at all sure that you care for it. But then that stops and you’re on your way back to your hospital bed, all done.

And the next morning they send you home.

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!

When G.G. Clark started the Brooklyn Science Fiction League, I do not think he knew what he was getting into.

Clark was a grown-up adult human being, in his late twenties or thereabouts. He had a job, and he had a Collection that made even Dirk Wylie’s look sick. (Mine was sick to begin with. I had a fair number of books and magazines, but no place to put them, except for what space I could make by pushing the dishes and cans of soup off some kitchen shelves. That strikes me as odd. There were not many books in my house when I was a kid, except my own. My father read nothing but Westerns, which he kept on the top shelf of his bedroom closet. My mother did not seem to read much at all, which is strange: she was a pretty literate person, could recite poetry at great length, had been valedictorian of her graduating class, even once held a minor editorial job with St. Nicholas Magazine for a brief time. A happy one for me; she used to bring home the review copies of children’s books. But I was fifteen before I lived in a house with a real bookcase.)

Clark not only had every issue of every science-fiction magazine ever published, but they had that fresh- from-the-mint look of having been bought new from the corner candy store, rather than being picked up second-hand. He even had a few variorum editions, such as a copy of Amazing Stories on which the red plate of the three-color cover had failed to print, so that it was all ghostly blues and greens. He also had more sf books than I had ever seen in one place before, and he even had science-fiction fan magazines, of which I had never previously even heard.

I think Clark must have been less than delighted with us scruffy adolescents who turned up in response to his postcard. Not one of us was within ten years of his age. At least one — Arthur Selikowitz, a tall, skinny polymath who entered Rensselaer Polytechnic Institute not long after at the age of thirteen — could not then have been quite eleven.

At our first meeting, the first thing we did was to elect Clark chairman. There was no alternative. Not only did he rank us all (Member 1), but it was his hall. We met some of the time in his cellar library (allowed to touch The Collection only one at a time, and with Clark hovering vigilantly by), sometimes in a rented classroom of a nearby public school. The term “nearby,” of course, refers to its proximity to Clark. All the rest of us had to travel miles.

It is hard for me to remember what we did at these meetings, and I think the probable reason for that is that we did very little. There was a certain amount of reading the minutes and passing amendments to the bylaws, and not much else. After a while we decided to publish a mimeographed fan magazine of our own. I became its editor (largely, I think, because I owned my own typewriter), and it may have been the first place in which words of mine were actually published.

I haven’t seen a copy of The Brooklyn Reporter in many years and doubt that there was much in it worth reading, but it was marvelously exciting to me then. My words were going out to readers all over the country! (Not very many readers, no. But quite geographically dispersed.) People I never saw were writing letters to comment on what I had done.

It was through The Brooklyn Reporter that I first met Robert Lowndes — only as a pen pal at first, because he lived in faraway Connecticut, and neither of us could see any way of bridging that near-hundred-mile distance. But we became good friends by correspondence, quickly found interests in common (we both were addicted to popular songs), and shared others: he initiated me into Baudelaire, Mallarmé and J.K. Huvsmans, and I introduced him to James Branch Cabell.

You see, what we science-fiction fans mostly wanted to do with each other’s company was to talk — about science fiction, and about the world. Robert’s Rules of Order didn’t seem to provide for much of that, so we formed the habit of The Meeting After the Meeting. After enduring an hour or so of parliamentary rules, we troops would bid farewell to our leader and walk in a body to the nearest station of the El.

On the way, we would stop off at a soda fountain. This had three very good features: it gave us an informal atmosphere for talk, it supplied us with ice-cream sodas, and it got rid of G.G. Clark, so that we kids could be ourselves. The only bad part of it was that we had to adjourn the regular meetings pretty early, since none of us were old enough to stay out very late. But, considering what was happening at the regular meetings, that was no sacrifice.

I really don’t know why the meetings had to be so dull. I wonder why it never occurred to any of us to invite some real-live science-fiction writer to come and bask in our worship. That would have been a thrill past orgasm for every one of us, maybe even for Clark. It wouldn’t have mattered who the author was, and I’m sure some would have come. For one thing, if anyone had ever suggested it to Hugo Gernsback, he would surely have flogged any number of them into our arms to boost sales.

I know why it didn’t occur to me. I was simply too naive. I wasn’t aware that writers lived in places where they could be met. I don’t know where I thought they did live. I may have thought they were mostly dead — that seemed to be the case with Mark Twain and Voltaire and a lot of my other favorites. If they were alive, I suppose I assumed they occupied some tree-lined, gardened, pillared suburb of something like heaven.

But still, why didn’t the idea occur to someone more sophisticated than I?

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 6: The Pros!
• Let There Be Fandom, Part 7: The Crusade

Hugo Gernsback

My ever-baffling computer pulled this out of some long-ago storage area, which was odd because it is obviously from a time long before I owned a computer. I have no idea who I wrote it for or where it was published, but when I read it over I thought it might be interesting enough to put in a 2009 blog. Tell me if you’d like to see more of this kind of thing, assuming I can find any.

Amazing No. 1

In the Beginning there was Hugo Gernsback, and he begat Amazing Stories.

In the fullness of time, about three years’ worth of it, a Depression smote the land, and Amazing was riven from him in a stock shuffle; whereupon he begat Air Wonder Stories and Science Wonder Stories, looked upon them and found them incomplete, and joined them one unto the other to be one flesh, named Wonder Stories. And Hugo looked upon the sales figures of Wonder Stories and pondered mightily that they were so starved-ass rotten. Whereupon a Voice spake unto him, saying, “Hugo, nail those suckers down,” so that he begat the Science Fiction League, and thus was Fandom born.

If there had not been a Science Fiction League, it would have been necessary to invent one. The time was ripe. In the early ’30s, to be a science-fiction reader was a proud and lonely thing. There weren’t many of us, and we hadn’t found each other to talk to. A few activists had done their best to get something going, digging addresses out of the letter columns of the science-fiction magazines and starting tiny correspondence clubs, but the largest of them had maybe a dozen members, and for the rest of us we had the permanent consciousness of being alone in a hostile world. The hordes of the unblessed weren’t merely disinterested in science fiction, they ridiculed it.

From Gernsback’s point of view, what he had to sell was a commodity that a few people wanted very much indeed but most people wouldn’t accept if it were given away free. He couldn’t do a lot about recruiting new readers, but he was aware that there were a great many in-and-outers, people who would buy an issue of Wonder Stories now and then, and thus were obviously prime prospects, but had not formed the every-month addiction that he sought. Well, sir. The arithmetic of that situation was pretty easy to figure. If the seventy percent of his readers who averaged three issues a year could be persuaded to buy every issue, he would triple his sales. These were the visions of sugarplums that danced in Hugo Gernsback’s mind.

He had a special need to think of something, because by the early ’30s even the magazine industry was grinding down under the Depression. Even the science-fiction magazines. Three of them existed, but they were reducing their size, cutting their prices, dropping back from monthly to every-other-month publication; in 1933 Astounding went out of business entirely, and then for a brief little while there were only two. (A few months later Street & Smith bought the magazine from the wreckage of the Clayton group of pulps and started it up again.) What Hugo hoped for from the Science Fiction League was a plain buck-hustle, a way of keeping readers loyal.

What we fans hoped for from it was Paradise. As soon as the notice appeared, I rushed to join, but my membership number was 490, even so. I didn’t mind. I was thrilled to think that there were 489 others like me, when I had in my whole life seen only one or two. The announcement promised that chapters would be chartered in all major cities; club news would be published in every issue of the magazine, members would be encouraged to become each other’s pen pals — what fun!

Hugo promised that some of the members would be foreign — imagine discussing Spacehounds of IPC or The Man Who Awoke with someone who lived in England or Australia! Imagine joining a chapter, sitting in a room filled with people who knew what you meant when you used terms like “time machines” or “ray guns,” and didn’t laugh! Imagine just knowing people who did not think science fiction was junk.

But, you know, in all honesty, a lot of it was.

Continue reading ‘Let There Be Fandom: The Science Fiction League’ »