The Way the Future Blogs

Part 4 of “Alfred Bester and Frederik Pohl — The Conversation,” recorded 26 June 1978 at The Tyneside Cinema, Newcastle upon Tyne, UK.
 

Bester: I’m curious, Fred. Where did you get the idea for The Space Merchants?

Pohl: The Space Merchants has a long history. During World War II, I was with the American Air Force in Italy. I got a little homesick, and I’d brought my typewriter with me. I’d carried that damn thing all over World War II hoping some time to find a use for it and I did.

I thought I’d write a novel about New York City to make me feel a little better. And the most exciting thing I could think of to write about in New York City was the advertising business — which was a glamorous sort of thing —-and I wrote this novel for some 300 pages or so, called For Some We Loved. It’s a quotation from Omar Khayyam. I was 23 years old, what did I know?

And then the war was over and I got back home, and I looked at the novel and perceived there was something wrong with it. What was wrong with it was that I didn’t know anything about the advertising business, and I had written this whole novel that dealt with it. But I knew how to solve that problem. I looked in the Sunday New York Times, classified advertising section, and I saw three or four help-wanted ads for advertising copywriters. I’d never been an advertising copywriter, but it looked easy. So I answered a couple of the ads and one of them hired me, and I spent a couple of years there.

Bester: What agency was it, Fred?

Pohl: A little tiny thing called Thwing & Altman, mostly book accounts. We did the Dollar Book Club and the Literary Guild and William Wise. I got to be pretty good at writing advertising.

And, at some point during those years, I had a summer place in upstate New York looking out over a lake with a big fireplace, and I had my manuscript of my novel For Some We Loved with me, and one night, I began to read it in front of the fireplace and as I read each page, I tossed them in the fire one by one.

Bester: Oh, Fred, no! That’s terrible.

Pohl: It was awful. The concept was painful … but the novel itself was agonizing. I had no choice.

So here I had all this knowledge of advertising and no longer had a book to put it in. Also Fred Wakeman had come out with The Hucksters by then, so it was no longer really a fresh idea for a regular mainstream novel. Then it occurred to me to make a science-fiction novel about advertising, and I began tentatively putting words on paper — a little bit at a time, because by then I had a full-time job running a literary agency. And when I had put about 20,000 words on paper over about a year or two, I showed it to Horace Gold.

Bester: What did Horace have to say?

Pohl: He said, “I am now running Alfie Bester’s The Demolished Man—”

Bester: Leave me out of this, will you?

Pohl: I swear to God, that was what he said. And: “I haven’t got anything to follow it up with. There’s nothing else coming in that looks as if it’ll stand up to The Demolished Man. So I’m going to start with the first installment now, and by next Tuesday please have the second and the third.”

And I said, “There’s no way I can do that. I have a full-time job with the agency.”

And he said, “I don’t care whether you can do it or not, the printers will be waiting.”

So I went back to my home in New Jersey where my old friend Cyril Kornbluth, with whom I’d written a lot of stories before, was staying with me. He read over the part I’d written, the first third or so and said, “Yeah, yeah, we can do something with that.” So he rewrote that and added some, and I rewrote that and added some, and we barely got it into print, but actually the first part was being set before the last was written.

Bester: My God, you were living dangerously, Fred!

Pohl: I had nothing to lose. It was Horace’s problem!

Bester: Whose title was it — Horace’s or yours?

Pohl: I called it something ridiculous like “Fall Campaign,” and Horace put “Gravy Planet” on it.

There was a big book boom in science fiction at the time, all sorts of publishers deciding to bring it out in hardcovers. So, I thought, what the hell, I’ll sell it as a book, and I was a literary agent, and I knew every publisher and editor in New York, especially the ones that dealt in science fiction — a lot of them were very good friends of mine. So I took it off to one, and I said, “Here, print this. It’s pretty good stuff,” and he read it and gave it back and said, “No, that’s not really what I meant at all!”

And I said, “So much for you,” and I took it to the next one. And it was rejected by every publisher in America who then had a science-fiction line.

Bester: So was The Demolished Man, sir! It was bounced by everybody.

Pohl: Well, I think it’s the same story.

So, there was no publisher left to offer it to. Then Ian Ballantine started up his own company, and he was so inexperienced as a publisher that he didn’t know this was unpublishable. So he published it! You know, it’s been translated into 45 languages now.

Bester: It shows you, the greatest books in the world can be bounced by anybody. Look at Fred’s! The greatest science fiction novel of all time. Bounced by everybody! It’s preposterous!

 
To be continued.

 
Related posts:

• Alfie, Part 1, Part 2
• Me and Alfie, Part 1, Part 2, Part 3, Part 5, Part 6, Part 7, Part 8

Alfred Bester

When the Air Force decided they wouldn’t need my services in order to accomplish the defeat of Japan — the reason for that being that Japan, discouraged by the simultaneous American atom-bombing of Hiroshima and Stalin’s last-minute invasion of their northern front, had finally given its struggle in World War II and surrendered — they sent me home to New York City. There I rented an apartment in Greenwich Village and, for reasons connected with a book I was trying to write, went looking for a job in the advertising business.

I answered three help-wanted ads in the Sunday Times employment section. One of them, a small Madison Avenue advertising agency, Thwing & Altman, took me on as a copywriter.

It didn’t pay as well as I had thought a Mad Ave. advertising job would, but otherwise it was a likable enough job. Its good features included location. Within the perimeter of a circle with a ten-block radius there were literally hundreds of quite good restaurants where I could get a lunch of almost any school and ethnicity. I quickly learned that, even with all that variety available, there were a handful that I kept returning to, and one of those was in the lobby of the Columbia radio (not yet TV) network’s then New York headquarters, the present skyscraper not yet having been built. The restaurant was frequently used by people from the network, and one of the reasons I liked it was that every once in a while I would run into Alfie Bester, also looking to grab a lunch there, and we would have a nice meal together, spiced with shop talk.

 
The thing to remember about the career of Alfred J. Bester is that he was first and foremost a money writer. He had the talent to do that well. He could write almost anything — science-fiction stories, comics, radio-serial scripts, you name it, and he could do them all at the top of his form — and what particular kind of thing he did write, depending on how the vagaries of the market fluctuated at any given moment, was whichever one of them was paying the most dollars per hour of punching typewriter keys.

Alfie had begun writing science fiction, back in the ’30s, because he had a number of friends — including Horace L. Gold and Mort Weisinger — who worked as editors at Standard Magazines, publishers of, among many other pulps, the magazine Thrilling Wonder Stories. They coached him in the writing of sf, and bought his practice stories. (Well, they didn’t buy all of them. A very few they rejected, and of those I bought one or two when, as a teenage editor, I was editing Astonishing and Super Science Stories).

Then Alfie discovered that comics were paying better than sf just then, so he tried his luck at comics, discovered that they were as easy to write as sf — for him — and switched his personal production line to comics.

Then he got a tip from his wife, Rolly, that changed everything.

Continue reading ‘Alfie’ »

   Hal Clement, 1965.

When I first began reading Hal Clement stories in Astounding, I was struck by this new writer’s affection for cloud types and air masses. Had to be a weatherman, I assured myself. Nobody else could, or would bother to, get all that meteorological talk down so well.

When I learned that Clement had been with a B-24 group, I was yearning for more, for so was I; and when it turned out that his bomb group was the 457th, I was fascinated. Mine was the 456th. Near us in the Stornara, Italy, neighborhood were the 458th and 459th; since the Air Force customarily packaged its bomb groups into bomb wings of four groups each, I had always wondered what they had done with our 457th.

Now I know that it was in England, flying right across the Channel to drop its bombs instead of chugging north through most of Europe before they got to a target, as our Mediterranean Theater of Operations bombers did. But why?

Ah, there is no “why” when you talk about the doings of the military.

Even after I met Hal Clement — aka Major Harry Stubbs, not a weatherman but a pilot, he explained; “but of course we had lots of courses in weather” — he didn’t know what had happened to detach his group from its siblings either. All he could tell me was that one day around 1942 or so they’d got orders to draw desert-type clothing and hot-weather instruments, along with the other nearby groups; then the 457th’s orders were reversed, while other groups began flying to Italy, and ultimately they were ordered to England.

And what did I mean, “Why?” Whoever knew “why” anything happened in the Air Force?

Nevertheless we became good friends, and ultimately I became his agent.

 
More to come.

 
Related post:
Hal Clement, Part 2

Jack Gillespie

Jack Gillespie was the shortest of the Futurians and the most likely to be up for any fun idea anyone had.

Jack’s parents were divorced. He lived with his mother, a devotee of, among other composers, Richard Wagner. His father ran a trucking service with an unwonted record of having merchandise fall off the backs of the trucks, so Jack always had plenty of cigarettes and Milky Ways.

Jack and I, having nothing much to do and plenty of time to do it in, would sometimes begin to write three-act plays, and sometimes kill a weekend by hitchhiking to, say, Washington, where my Uncle Les was a motorcycle cop and sometimes was reasonably glad to see us.

During the war, Jack went his own idiosyncratic way: no uniformed service; instead, he joined the Merchant Marine. He survived the U-boat menace, and after the war married a startlingly beautiful blonde girl named Lois Miles, a former schoolmate of my wife Carol, and then moved to Pennsylvania because that’s where the jobs he wanted were.

We exchanged letters in regard to a number of little-known American poets for a while. But then we pretty much lost touch.

Sakineh Mohammadi Ashtiani

Do you remember the name Sakineh Mohammadi Ashtiani? Probably not. I didn’t remember it myself until, just now, I had to look it up so I could write this. But she was pretty famous all around the world a few months ago, after a court in Iran convicted her of adultery, and sentenced her to death by stoning.

What happened then was that people all over our planet began making outraged noises about this sadistically savage punishment. Even the president of Brazil — about the only friend Iran has left in the western world — offered to give her sanctuary from the Iranian executioners.

So the Iranians retreated slightly. They changed the charges against her from adultery to murder.

That didn’t mean she wouldn’t be pinned down while bystanders threw cobblestones at her face until, in as much pain as possible, she died. Just that it would be listed on the record as for a different crime entirely.

See, the thing is, I try to give Moslems the benefit of the doubt. I don’t think that belief in the teachings of the Koran is in itself more conducive to encouraging the murder of unbelievers than is belief in the Bible. Indeed, it was the most devout Christians who burned alive the most Moslems, Jews — and Protestants — a few centuries ago. And if we ethnic Christians don’t do that any more, it is — or so I have always told myself — because we’re better educated now. We know the difference between right and wrong. And mad mullahs — or Ku Klux Klan Baptist ministers — can’t whip us up to lynch mobs any more.

Or at least that’s what I’ve always believed. Education is the cure for many evils, including that one.

I still believe that to be true, but I’m beginning to worry a little. According to a recent report from the Pew Research Center, 16 percent of Americans believe that what brought the twin towers down on 9/11 wasn’t the jet planes that were on every TV set in America as they crashed, but “secretly planted” explosives, and that this was done in order to make Americans mad enough to go to war in the Middle East.

This, remember, means that out of every six Americans, one would rather believe a preposterous lie than the evidence of what he saw on his own TV.

That’s not all. 18 percent of Americans believe that the sun revolves around the Earth, 24 percent believe in witches and 34 percent believe that UFOs really are alien creatures, and that our government is hiding the evidence.

So maybe even education is not enough to prevent human beings from becoming gratuitous killers.

Oh, wait a minute. I already knew that. Look at Germany in the late 1930s.

 
Then what is?

The Battle of the Bulge left Dirk Wylie unable to hold a regular job, so we made him — and ultimately, me — into a literary agent.

After World War II had grabbed most of us Futurians by the scruff of the necks and flung us to various odd destinations in all sorts of unexpected parts of this planet of ours, it did, somehow get itself ended and there we were, civilians again, and back in New York. I had had a relatively undemanding war, ending up with doing public relations at the Mediterranean Theater of Operations in Caserta, Italy (with my spare time spent in a resort hotel on the slopes of Mount Vesuvius). Dirk Wylie, however, hadn’t had anywhere nearly as nice a war as I did.

Dirk’s war hit bottom in the early winter of 1944–45. That was when Hitler’s Wehrmacht made one last attempt to take back control of the western front in the Battle of the Bulge. It was a vicious and protracted fight, and Dirk, then an MP sergeant, was in the middle of it. This cost him. At one point, he jumped hastily out of a truck and landed in a very wrong way, doing something seriously bad to his spine.

That was the end of the war for Dirk, and the beginning of years of hospital stays and unremitting pain.

By the late 1940s, he was discharged from the New York-area Veterans Administration hospitals — not because he was cured but because there was nothing more they could do for him. Now Dirk was a civilian again, with one unanswerable question: What was he to do with the rest of his life? A normal nine-to-five job of any kind was pure fantasy. The only good part of the situation was that he didn’t need to make much money. The Veterans Administration had recognized their obligation to him and awarded him a substantial pension. But a living wage wasn’t the whole of Dirk’s needs. He was just barely out of his twenties, and didn’t like the prospect of doing nothing for the rest of his life.

I spent a lot of time with Dirk and his wife, Roz, discussing that question, and we came up with an idea that seemed worth pursuing. He could become a literary agent.

 
There are all kinds of literary agents. Some of them can do very good things for their clients, making sales for them that the writers would not have made by themselves and sometimes acting as story coaches to help their clients write more salable material. Others (as my mother used to say when totally exasperated) are not worth the powder to blow them to Hell.

So what made the difference between the saviors and the total wastes? One, a good agent needed to know the market. Two, s/he needed to know good work from bad. Three, s/he needed to be able to let clients know how to tell the difference between good and bad, too, and how to encourage them to get better.

Of course, Dirk didn’t have personal knowledge of all these things, although, as a Futurian, he had been exposed to a fair amount of shop talk over the years and had made a few sales himself. But what he did have was me.

Continue reading ‘How I Lost My Oldest Friend
(and Gained a Literary Agency)’ »