Englishzine 01

Englishzine 01
EZINE EXCELLERE 172.
Juillet Ezine 01.
February 2016.
Englishzine from Chile.
Edited by Alfred Juillet F.

Contents:
Margaret Hedda Johnson........ by Director Shaffer.
The Willamson Effect
A lost world.
PDF files.
Syria.......by Alfredo Juillet
Denis Gifford, Robert Heinlein, and others.
Syrmio, by Maria Pia.
Links.
......................................................

"Margaret Hedda Johnson was born in Chicago on December 9, 1900. In

the early

1920s she attended the Chicago Academy of Fine Art where she studied
fashion

design. Afterwards, she became a freelance artist as a fashion

illustrator for

various newspapers. She married Myron "Slim" Brundage in 1927 and

they had one

son, Kerlyn. The marriage didn't last long and they separated,
leaving

Margaret to care for her child alone, as well as a mother in poor

health, with

little, if any, financial support from her husband. They divorced in

1939.

Desperate to get away from the mundane world of fashion -- and of

black and

white art -- she brought her portfolio to WEIRD TALES, "the magazine
of the

bizarre and unusual", whose offices were located in Chicago. The

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magazine was

founded by publisher Clark Henneberger in 1923, and Farnsworth

Wright took

over as editor in 1924 after former editor Edwin Baird was fired.
After seeing

a drawing of an Oriental dancer, they gave her work as a cover

artist for

another of their titles, ORIENTAL STORIES, despite her limited

knowledge of

colour reproduction. Her first cover was for the Summer 1932 issue.
(ORIENTAL

STORIES would soon be renamed THE MAGIC CARPET; it only ran

sporadically from

October 1930 to January 1934.)

She moved on to the more famous WEIRD TALES with the September 1932
issue, and

would paint a total of 66 covers for the magazine, including all

nine of the

Conan covers. One of those covers helped make the issue a sell-out.

Illustrating "The Slithering Shadow", a Conan tale by Robert E.

Howard,

Brundage's cover showed a naked blonde in bondage being whipped by a

scantily-clad brunette, set against a crimson background and

exaggerated

shadows.

She became the most prolific of the magazine's cover artists, with
an unbroken

streak from June, 1933 to September, 1936. (There was no August

issue for

1936.) Her lurid covers were sensational and controversial, if their

letters

page, “The Eyrie”, is any indication. While fans -- and many of them
were
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female -- didn't object to the nudity, some thought the covers were

misrepresenting the magazine as sleazy trash rather than as a

distinguished

periodical of weird fiction. But Brundage's nude covers sold issues,

and that

was all that Wright needed to know. She signed her name "M.
Brundage". This is

how she was credited in the magazine until the February 1935 issue,
where her

full name is given, identifying her as a woman. (This may have been
an attempt

at mollifying the critics who thought the covers were sexist and

misogynistic.)

Brundage's fashion training all but went out the window.

Occasionally she

would sneak in a pretty dress, but usually her soft-skinned heroines

were

either completely naked or covered in nothing more than a wisp of

gossamer.

With wide eyes and parted lips, these damsels in peril were being
menaced by

monsters or dagger-wielding cultists; often they were in bondage

being whipped

by evil priestesses; sometimes they were the ones in control,

running naked

through the snow with wolves. In any case, they were young and built
like

goddesses. There was little, if any, background in the composition,

but always

there were sexy, shapely females to titillate the viewer. Actually,

there was

a female on all but three of Brundage's covers (the April, May and
August 1935

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issues being the exceptions). Of Brundage's 66 WEIRD TALES covers, a
dozen

featured bondage and/or flagellation.

Brundage visited Farnsworth Wright at the WEIRD TALES offices at

least once a

month. A particular scene from a story was chosen for her to

illustrate, often

one of bondage and sadism or with lesbian overtones, and Brundage

would submit

a few pencil sketches. Wright would then choose one to be rendered

for the

cover. Not surprisingly, writers would sometimes fit a bondage and

whipping

sequence into their yarn hoping to make the cover.

Brundage rarely used models to work from. Occasionally a friend

would pose for

the female figures, but she usually worked from the pure ether of
her

imagination. She was paid $90 per cover, always rendered in pastels,
her

chosen medium, and usually measuring 20 inches in height, but with

varying

widths. She was rarely asked to make corrections and, under Wright's

editorship, never asked to cover up her nudes. "They would always

pick the one

with the least amount of clothing," Brundage said. What's more, she
was asked

"to make larger and larger breasts".

WEIRD TALES was sold in 1938 to a New York publisher, where the
editorial

offices were also located. Dorothy McIlwraith was brought in to

assist Wright.

Office politics and health issues forced Wright to resign by 1940,

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and he died

later that year from Parkinson's disease. McIlwraith became the new
editor.

Because Brundage could no longer deliver the artwork in person it

had to be

shipped, which meant she had to create covers in much less time.
This, coupled

with the fact that the pastels would smear during shipping causing a
need for

corrections and more shipping, marked the end of Brundage's reign as

leading

cover artist for the magazine. She made one attempt at oils, which
the editors

didn't like, and after the October 1938 issue she only did eight
more WEIRD

TALES covers, the last being for the January 1945 issue. (She did no
covers

for the 1939 issues.) The magazine went to bi-monthly status after
1939, so

even if she had remained Queen of the Pulps her earnings would have
been

halved. In the late 1930s under new ownership the covers were no
longer

risque. Wright's two other discoveries, Virgil Finlay and Hannes

Bok, both
amazing artists, were on hand to provide technically proficient and
bizarre

covers (respectively), and help bring the magazine back to its weird
roots.

The magazine continued until September 1954.

Brundage, one of the few women artists working for pulp magazines,
lived

mostly in obscurity and poverty. She continued painting and gave

some brief

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interviews in the 1970s. She died April 9, 1976, predeceased by her
son, who

died in 1972.

Her covers for Weird Tales are highly valued by collectors, and the
originals

sell for large sums at auction. The cover for the September 1932
issue of

Weird Tales (her first for that magazine) sold for $50,000 in 2008,
and in

2010 the cover for the January 1936 issue sold for $37,000. Often
overlooked,

often underrated, the best of Margaret Brundage's pastel covers for

the pulps

deserve to be hanging in museums!"

De:

The Outlaw Josey Wales is one of my all-time favorite Western movies

with one

of the classic cinematic dialogue exchanges:

Bounty hunter: You're wanted, Wales.

Josey Wales: Reckon I'm right popular. You a bounty hunter?

Bounty hunter: A man's got to do something for a living these days.

Josey Wales: Dyin' ain't much of a living, boy.

So, I was excited to find both of the books in the Josey Wales
series at the
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Open Library, Gone To Texas (the book on which the movie was based)
and its

sequel The Vengeance Trail Of Josey Wales. But after reading about
the author

in the course of formulating this post, I had severe reservations

about

posting them in light of the author's racist past.

Forrest Carter was apparently a violent, racist, miserable excuse

for a human

being. He once shot two fellow Klansmen over an argument about

money. He

allegedly died as violently as he had lived, from a heart attack

after a

fistfight with his son.

Is it possible to separate the life of an author from their literary

creations?

Read the biographical sketch of Forrest Carter below and decide for
yourself.

1. Gone To Texas. By Forrest Carter ([New York]: Delacorte Press /

Eleanor

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The Rebel Outlaw: Josey Wales is a 1973 American Western novel
written by

Forrest Carter that was adapted into the film The Outlaw Josey Wales
directed

by and starring Clint Eastwood.

It was originally published in hardcover in 1973 by a small

publishing firm in

Gantt, Alabama, Whipporwill Publishers. It is believed that only 75

copies of

the 1973 First Edition were ever published (one of which was sent by
the

author to Clint Eastwood unsolicited, which led to the film

adaptation) so it

is quite a rare book today. Only one copy is currently for sale on
the major

used book sites, priced at $7,500. The novel was republished in

hardcover in

1975 by Delacorte Press / Eleanor Friede under the title Gone To

Texas.

I added an image of the First Edition dust jacket to the end of the
file so

that you could see what it looked like.

Plot Synopsis:
Josey Wales, a Missouri farmer, seeks vengeance when his family is
murdered by
a gang of Union militants during the American Civil War.

From the dust jacket:

"Josey Wales lost his young wife and child to...Civil War
destruction and,

like Jesse James and other young farmers, joined the guerrilla
soldiers of

Missouri—men with no cause but survival and no purpose but revenge.

A hunted fugitive with a price on his head and bands of cavalry and
bounty

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hunters on his trail, Josey and a Cherokee friend, Lone Watie, set
out for the

West through the dangerous Comanchero territory. Hiding by day,

traveling by

night, they are joined by an Indian woman named Little Moonlight,

and rescue

an old woman and her granddaughter from their besieged wagon. Now
there are

five of them, bonded for survival, moving southward to Texas,

winning through

a brash and honest violence the surprise chance for a new way of
life."

"Forrest Carter's novel is a moving, exciting story about real

characters who

come alive on every page. His plot has the ring of authenticity. The
sequence

with Ten Bears is an unforgettable and suspenseful reading

experience. In

fact, I liked the entire book so much that I have bought it for my
next

starring vehicle."—Clint Eastwood.

"Gone To Texas is hard to put down as a novel of the West. As true

American

history, which it is, there's no putting it down at all."—

Richard Bach, author of Jonathan Livingston Seagull.

"Authentic in detail, exciting, stark, brutal, with uncompromising

reality..."—Historical Book Society.

2. The Vengeance Trail Of Josey Wales. By Forrest Carter ([New

York]:

Delacorte Press / Eleanor Friede, [1976]) (202 pages) (Dust jacket

art by Al

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About The Movie:
The Outlaw Josey Wales is a 1976 American revisionist Western DeLuxe
Color and

Panavision film set during and after the American Civil War. It was
directed

by and starred Clint Eastwood (as the eponymous Josey Wales), with
Chief Dan

George, Sondra Locke, Sam Bottoms, and Geraldine Keams. The film
tells the

story of Josey Wales, a Missouri farmer whose family is murdered by

Union

militants during the Civil War. Driven to revenge, Wales joins a

Confederate

guerrilla band and fights in the Civil War. After the war, all the
fighters in

Wales' group except for Wales surrender to Union officers, but they
end up

being massacred. Wales becomes an outlaw and is pursued by bounty

hunters and

Union soldiers.

The film was adapted by Sonia Chernus and Philip Kaufman from author
Forrest

Carter's 1973 novel The Rebel Outlaw: Josey Wales (republished, as

shown in

the movie's opening credits, as Gone To Texas). Forrest Carter was

an alias
assumed by Asa Carter: a former Ku Klux Klan leader, a speechwriter
for George

Wallace, and later an opponent of Wallace for Governor of Alabama on

a white

supremacist platform. In 1996, the film was selected for

preservation in the

National Film Registry of the Library of Congress. The film was a

commercial

success, earning $31.8 M against a $3.7 M budget.

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Josey Wales was portrayed by Michael Parks in the 1986 sequel to the
film The

Return Of Josey Wales.

About The Author:

Asa Earl Carter (September 4, 1925 – June 7, 1979) was a Ku Klux
Klan leader,

segregationist speech writer, and later western novelist. He

co-wrote George

Wallace's well-known pro-segregation line, "Segregation now,

segregation

tomorrow, segregation forever", and ran for governor of Alabama on a

segregationist ticket. In addition, under the alias of supposedly

Cherokee

writer Forrest Carter, he wrote The Rebel Outlaw: Josey Wales

(1972), a novel

that led to a 1976 National Film Registry film and The Education Of
Little

Tree (1976), a best-selling, award-winning book which was marketed

as a memoir

but which turned out to be fiction.

In 1976, following the success of his Western novel The Rebel

Outlaw: Josey

Wales (1972) and its 1976 film adaptation, The New York Times
revealed Forrest
Carter was actually southerner Asa Earl Carter. His background
became national

news again in 1991 after his purported memoir, The Education Of

Little Tree

(1976), was re-issued in paperback, topped the Times paperback

best-seller

lists (both non-fiction and fiction), and won the American

Booksellers Book of

the Year (ABBY) award.

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Prior to his literary career as "Forrest", Carter was politically

active for

years in Alabama as an opponent of the civil rights movement: he

worked as a

speechwriter for segregationist Governor George Wallace of Alabama,

founded

the North Alabama Citizens Council (NACC) – an independent offshoot

of the

White Citizens' Council movement – and an independent Ku Klux Klan

group, and

started a pro-segregation monthly, titled The Southerner.

Asa Carter was born in Oxford, Alabama in 1925, the second eldest of
four

children. Despite later claims (as author "Forrest" Carter) that he

was

orphaned, he was raised by his parents Ralph and Hermione Carter in

nearby

Oxford, Alabama. Both parents lived into Carter's adulthood.

Carter served in the United States Navy during World War II and for
a year

studied journalism at the University of Colorado on the G.I. Bill.

After the

war, he married India Thelma Walker. The couple settled in

Birmingham, Alabama
and had four children.

Carter worked for several area radio stations before ending up at

station WILD

in Birmingham, where he worked from 1953 to 1955. Carter's

broadcasts from

WILD, sponsored by the American State's Rights Association, were

syndicated to

more than 20 radio stations before the show was cancelled. Carter
was fired

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following community outrage about his broadcasts and a boycott of
WILD. Carter

broke with the leadership of the Alabama Citizen's Council movement

over the

incident. He refused to tone down his anti-Semitic rhetoric, while

the

Citizen's Council preferred to focus more narrowly on preserving

racial

segregation of Blacks.

Carter started a renegade group called the North Alabama Citizen's

Council. In

addition to his careers in broadcasting and politics, Carter during

these

years ran a filling station. By March 1956, he was making national

news as a

spokesman for segregation. Carter was quoted in a UP newswire story,

saying

that the NAACP had "infiltrated" Southern white teenagers with

"immoral" rock

and roll records. Carter called for jukebox owners to purge all
records by

black performers from jukeboxes.

Carter made the national news again on September 1 and 2 of the same
year,

after he gave an inflammatory anti-integration speech in Clinton,

Tennessee.

He addressed Clinton's high school enrollment of 12 black students,

and after

his speech an aroused mob of 200 white men stopped black drivers
passing

through, "ripping out hood ornaments and smashing windows". They

were heading

for the house of the mayor before being turned back by the local
sheriff.

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Carter appeared in Clinton alongside segregationist John Kasper, who
was

charged later that same month with sedition and inciting a riot for
his

activities that day. Later that year, Carter ran for Police
Commissioner

against former office holder Bull Connor, who won the election.
Connor later

became nationally famous for his heavy-handed approach to law

enforcement

during the civil rights struggles in Birmingham.

In 1957, Carter and his brother James were jailed for fighting
against

Birmingham police officers. The police were trying to apprehend

another of the

six in their group, who was wanted for a suspected Ku Klux Klan
(KKK)

shooting. Also during the mid-1950s, Carter founded a paramilitary

KKK

splinter group, called the "Original Ku Klux Klan of the

Confederacy". Carter

started a monthly publication entitled The Southerner, devoted to

purportedly

scientific theories of white racial superiority, as well as to

anti-communist
rhetoric.

Members of Carter's new KKK group attacked singer Nat King Cole at
an April

1956 Birmingham concert. After a more violent event, four members of

Carter's

Klan group were convicted of a September 1957 abduction and attack

on a black

handyman named Judge Edward Aaron. They castrated Aaron, poured

turpentine on

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his wounds, and left him abandoned in the trunk of a car near
Springdale,

Alabama. Police found Aaron, near death from blood loss. (Carter was
not with

the men who carried out this attack). In 1963, a parole board,
appointed by

Carter's then-employer Alabama governor George Wallace, commuted the

sentences

of the four men convicted of attacking Aaron.

In 1958, Carter quit the Klan group he had founded after shooting
two members

in a dispute over finances. Birmingham police filed attempted murder

charges

against Carter, but the charges were subsequently dropped. Carter

also ran a

campaign for Lieutenant Governor the same year that saw him finish
fifth in a

field of five.

During the 1960s, Carter was a speechwriter for Wallace. He was one
of two men

credited with Wallace's famous slogan, "Segregation now, segregation

tomorrow,

segregation forever", part of Wallace's 1963 inaugural speech.

Carter

continued to work for Wallace, and after Wallace's wife Lurleen was
elected

Governor of Alabama in 1966, Carter worked for her. Wallace never

acknowledged

the role Carter played in his political career, however:

Till the day he died, George Wallace denied that he ever knew Asa
Carter. He

may have been telling the truth. 'Ace', as he was called by the
staff, was

paid off indirectly by Wallace cronies, and the only record that he
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ever wrote

for Wallace was the word of former Wallace campaign officials such
as finance

manager Seymore Trammell.

When Wallace decided to enter national politics with a 1968

presidential run,

he did not invite Carter on board for the campaign, as he sought to

tone down

his reputation as a segregationist firebrand. During the late 1960s,

Carter

grew disillusioned by what he saw as Wallace's liberal turn on race.

Carter ran against Wallace for governor of Alabama in 1970 on a

white

supremacist platform. Carter finished last in a field of five

candidates,

winning only 1.51% of the vote in an election narrowly won by

Wallace over the

more moderate Governor Albert Brewer. At Wallace's 1971

inauguration, Carter

and some of his supporters demonstrated against him, carrying signs

reading

"Wallace is a bigot" and "Free our white children". The

demonstration was the

last notable public appearance by "Asa Carter".

After losing the election, Carter relocated to Abilene, Texas, where
he

started over. He began work on his first novel, spending days

researching in

Sweetwater's public library. He distanced himself from his past,

began to call

his sons "nephews", and renamed himself Forrest Carter, after Nathan
Bedford

Forrest, the first Grand Wizard of the Ku Klux Klan and a general of
the
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Confederate army who fought in the Civil War.

Carter moved to St. George's Island, Florida in the 1970s where he

completed a

sequel to his first novel, as well as two books on American Indian

themes.

Carter separated from his wife, who remained in Florida. In the late
1970s, he

again settled in Abilene, Texas.

Carter's best-known fictional works are The Rebel Outlaw: Josey

Wales (1973,

republished in 1975 as Gone To Texas) and The Education Of Little

Tree (1976),

originally published as a memoir. The latter sold modestly – as

fiction –

during Carter's life; it became a sleeper hit in the late 1980s and
throughout

the 1990s.

Clint Eastwood directed and starred in a film adaptation of Josey

Wales,

retitled The Outlaw Josey Wales (1976), after Carter sent the book
to his

offices as an unsolicited submission, and Eastwood's partner read

and put his

support behind it. At this time, neither man knew of Carter's past
as a

Klansman and rabid segregationist. In 1997, after the success of the

paperback

edition of The Education Of Little Tree, a film adaptation of the

second book

was produced. Originally intended as a made-for-TV movie, it was

given a

theatrical release.

In 1976, Carter published the sequel to The Rebel Outlaw: Josey

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Wales,

entitled The Vengeance Trail Of Josey Wales which Clint Eastwood

planned to

film as a sequel to The Outlaw Josey Wales, but the project was
eventually

cancelled.

In 1978, Carter published Watch For Me On The Mountain, a

fictionalized

biography of Geronimo. It was reprinted in 1980 in an edition

titled, Cry

Geronimo!

Carter spent the last part of his life trying to conceal his
background as a

Klansman and segregationist, claiming categorically in a 1976 The

New York

Times article that he, Forrest, was not Asa Carter. The article
details how as

Forrest, Carter was interviewed by Barbara Walters on the Today show

in 1974.

He was promoting The Rebel Outlaw: Josey Wales, which had begun to
attract

readers beyond the confines of the Western genre. Carter, who had
run for a

campaign for governor of Alabama (as Asa Carter) just four years
earlier in a
campaign which included television advertising, was identified from
this Today

show appearance by several Alabama politicians, reporters and law

enforcement

officials. The Times also reported that the address Carter used in
the

copyright application for The Rebel Outlaw was identical to the one
that he

used in 1970 while running for governor. “Beyond denying that he is

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Asa

Carter”, the Times noted, “the author has declined to be interviewed

on the

subject.”

When the story of Carter’s deception hit the news, it was inevitable
that

Clint Eastwood would be drawn into the controversy. From Clint

Eastwood: A

Biography by Richard Schickel, published by Alfred A. Knopf New York

1996:
"Clint was on location, making Unforgiven, when this article
appeared, and he

sent a polite letter to the Times, pointing out that he had met the
man he

knew as Forrest Carter only once. He also observed, “If Forrest

Carter was a

racist and a hatemonger who later converted to being a sensitive,

understanding human being, that would be most admirable.”"

But maybe that wasn’t the case either — or possibly Eastwood was
being

diplomatic. Schickel also relates that Clint’s producer on Josey

Wales, Bob

Daley saw another side to Carter:

"He saw a decent side to the man, reflected in warm, supportive
letters he

received from Carter on the death of his father. He also saw vicious
anti-

Semitism, directed at William Morris agents, when the arguments

about money

started up. He finally came to the conclusion that Carter was

basically an

opportunist, willfully burying – but not necessarily abandoning –

his racism

so that he could rejoin decent society."

Carter was working on The Wanderings Of Little Tree, a sequel to The
Education
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Of Little Tree, as well as a screenplay version of the book, when he

died in

Abilene on June 7, 1979. The cause of death, reported as heart

failure, was

alleged to have resulted from a fistfight with his son. Carter's

body was

returned to Alabama for burial near Anniston.

No one will ever know what Carter’s thoughts and attitudes really
were,

whether he was, as Clint Eastwood thought, "a hatemonger who later

converted

to being a sensitive, understanding human being." But the evidence,

such as

his public denial that he was Asa Earl Carter, would support Daley’s
claim

that he was an opportunist, whose attitudes could and would be put

to the side

where financial gain was concerned.

But having said that, as the popularity of the books would attest,
Carter was

a good writer who wrote stories that were not racist, and depicted
Indians in

a light that had never really been seen in main stream fiction at
that time.

Carter is certainly an enigma. And despite what his actual beliefs

may have

been, there is no denying that Gone To Texas is a great western

story, and a

thoroughly entertaining read.

´´´´´

format of the 1979 Reed Books oversized trade paperback First

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Edition of

Fantastic Planets by Jean-Claude Suares and Richard Siegel, with

text by David

Owen.

Fantastic Planets is a pictorial book on science fiction in movies

and tv, in

comics, and in literature. It was originally published

simultaneously in both

hardcover and large format trade paperback in 1979 by Reed Books.

It's

profusely illustrated with 54 color photographs and 138 black &

white

photographs, including a few reproductions of pulp covers and

illustrations.

From the dust jacket:

"They've landed! They've landed!" With the initial panic over, the
burning

question is, "Where did They come from?" The authors of Alien
Creatures now

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take you on an incredible visual journey to the planets and galaxies
that

spawned them.

As the mysteries of our own earth become yesterday's news, Man seeks
other

homes where human and other life exist. His unquenchable thirst for
the

Unknown has compelled him to turn his eyes to the heavens, and his
imagination

toward the enigma of the Universe.

These flights of fancy take place on huge and powerful spaceships.

Melodramatic landings in the Moon's eye, dangerous visits to Mars

with Flash

Gordon, the Moon's enigmatic monolith, Barbarella's city, the

Forbidden

Planet, skies full of suns and moons that shine upon ominous
deserted places,

all reached at speeds where time and space stand still. But where
does

speculation end and reality begin?

As we near the 21st Century, science at last seems to be catching up

with the

fabulous creations of SF literature and cinema, but the NASA

spacecraft that
have traveled to the Moon, Venus, Mars, and beyond seem but dull
imitations of

the marvelous visions of Jules Verne and H. G. Wells, brought

brilliantly to

life by George Melies, Stanley Kubrick, Steven Spielberg, and George

Lucas.

Will we really find Cylons and other dastardly intergalactic armies

with whom

to do battle in the eternal struggle of good vs. evil? Movies,

television,and
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comics shout a resounding, "Yes!"

Find out for yourselves! Travel at the speed of light with Richard
Siegel, J-C

Suares, and David Owen as they reveal the Moon, Mars, the rest of
the Solar

System, and the Great Beyond, on a journey you won't soon forget."

About Jean-Claude Suares:

Jean-Claude Suares (March 30, 1942 – July 30, 2013) was an artist,

illustrator, editor, and creative consultant to many publications,

and the

first Op-Ed page art director at The New York Times.

Suares was born on March 30, 1942, in Alexandria, Egypt, to a

Sephardic

father. He and his family moved from Egypt to Italy when he was a
teenager.

Later, he moved to New York, where he briefly attended Pratt

Institute. In the

1960s, he joined the U.S. Army paratroopers and was sent to Vietnam,
where he

worked on staff for Stars and Stripes. He also spoke several

languages. In

1973, Suares arranged an exhibition of Op-Ed art at the Musée des

Arts

Décoratifs in Paris. For over 30 years his comic drawings appeared

in The New

York Times, on the covers of The New Yorker and The Atlantic
Monthly, and in

other periodicals and books. He wrote, edited or designed scores of

illustrated books. He was also involved in book publishing. He

worked with

Jacqueline Kennedy Onassis at Doubleday. He also designed Michael

Jackson’s

autobiography, Moonwalk. Suares was in one movie in 1973, It

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Happened In

Hollywood.

A resident of Harrington Park, New Jersey, Suares died on July 30,

2013, at

Englewood Hospital and Medical Center in Englewood, New Jersey as a

result of

a bacterial infection. He was 71.

About Richard Siegel:

Richard Siegel (1955-) is an American illustrator, comics artist,
filmmaker,

and author. He is the author of the SF novel Alien Plague (1979),

under the

pseudonym Stephard Noir, in which a medical Disaster is sourced to

the Outer

Planets. Under his own name, he is best known for an SF satire

framed as a

photo-documentary, The Extraterrestrial Report: The First Fully

Documented

Account Exposing The Awful Danger From Beyond (A & W Visual Library,
1978),

which spoofs various paranoias, including UFO "sightings". More

recently, from

2005 to 2007, Siegel contributed several sf spoofs to the Weekly

World News.
ooooooooo

Alfredo Juillet Frascara,

71 years. He was born in Santiago de Chile, May 30 1944, is a

Chilean

painter, author and sculpturer. He is the author of the SF novel

"Jaukmoon",

"Mars", "Knapp", and many others. He currently lives in the field,

still

working in his projects, and the last novel is "Kenate", where the
action
Página 24
 Englishzine 01

happens in the Second Brana. Some of his works appears in Scribd.

999999999999999

The Williamson Effect.

[Original Stories In Tribute To Grand Master Jack Williamson].

Edited By Roger

Zelazny. [Introduction By David Brin] (New York: Tor (A Tom Doherty

Associates

The Williamson Effect is an original anthology of fifteen SF short

stories and

one poem, about or inspired by science fiction Grand Master Jack

Williamson

(1908-2006). It was originally published in hardcover in 1996 by

Tor. This
Página 25
 Englishzine 01

1997 Tor edition marked its first appearance in paperback.

SF author Roger Zelazny (1937-1995), winner of six Hugo and three

Nebula

awards and the editor of this collection, died of cancer on June 14,
1995.

Before his death, he had completed the majority of the editorial

work for The

Williamson Effect. In keeping with the tradition Zelazny had

established as

editor for other collections, Jim Frenkel provided short

introductions for

each story. Jane Lindskold assisted with tying up loose ends and
coordinating

the collection for publication.

From the back cover:

"A TRIBUTE TO JACK WILLIAMSON - THE DEAN OF MODERN SCIENCE FICTION.

WITH AN INTRODUCTION BY DAVID BRIN,THE WILLIAMSON EFFECT INCLUDES

ALL ORIGINAL

SHORT STORIES, WITH AFTERWORDS, COMMISSIONED ESPECIALLY FOR THIS

BOOK,

FEATURING SUCH ENTHRALLING TALES AS:

"The Bad Machines" by Fred Sabertiagen: an unlucky crew is caught
between the

Humanoids and the Berserkers...

"The Mayor Of Mare Tranq" by Frederik Pohl: see Jack Williamson
himself become

a real American hero...

"Nonstop To Portales" by Connie Willis: the story of a strange bus

tour that

changes one man's life...

"Inside Passage" by Poul Anderson: a chilling sequel to Williamson's

seminal

fantasy, Darker Than You Think...

Página 26
 Englishzine 01

"Thinkertoy" by John Brunner: a gripping homage to Williamson's

classic work

of robots gone wild, The Humanoids...

"On looking back over his long and influential career, I have no
hesitation in

placing Jack Williamson on a level with the two other American

giants, Isaac

Asimov and Robert Heinlein."—Arthur C. Clarke.

"Any fan of Williamson, or of science fiction for that matter, will

thoroughly

enjoy The Williamson Effect."—The Post and Courier, Charleston,

South

Carolina.

CONTENTS:
The Williamson Effect ed. Roger Zelazny (Tor 0-312-86395-0, Dec ’97
[Nov ’97],

$15.95, 349pp, tp, cover by Nicholas Jainschigg) Original anthology

of 15

stories and one poem, about or inspired by Jack Williamson, with an

introduction by David Brin. Authors include Frederik Pohl, Poul

Anderson,

Connie Willis, and Andre Norton.

13 · Introduction: A World In Love With Change · David Brin · in *
21 · The Mayor Of Mare Tranq · Frederik Pohl · ss *
36 · Before The Legion · Paul Dellinger · nv *
61 · Inside Passage · Poul Anderson · nv *
90 · Risk Assessment · Ben Bova · nv *
116 · Williamson’s World · Scott E. Green · pm *
117 · Emancipation · Pati Nagle · nv *
146 · Thinkertoy · John Brunner · ss *
163 · The Bad Machines · Fred Saberhagen · nv *
190 · The Human Ingredient · Jeff Bredenberg · ss *
207 · Child Of The Night · Jane Lindskold · ss *
223 · A Certain Talent · David Weber · nv *
246 · Nonstop To Portales · Connie Willis · nv *
275 · No Folded Hands · Andre Norton · ss *
289 · Darker Than You Wrote · Mike Resnick · ss *
295 · Near Portales... Freedom Shouts · Scott E. Green · pm *
296 · Worlds That Never Were: The Last Adventure Of The Legion Of
Página 27
 Englishzine 01
Time · John

Henry King, Director: From Silents To Scope. By Henry King. Based On

Interviews By David Shepard And Ted Perry. Edited By Frank Thompson

(A

Directors Guild of America Publication in association with the

Giornate del

Cinema Muto([Los Angeles, CA]: Directors Guild of America, Inc.,

Página 28
 Englishzine 01
[1995])

Henry King, Director: From Silents To Scope is an autobiography of

Hollywood

director Henry King (1886-1982), compiled from a series of

interviews with him

which were conducted between 1976 and 1981.

From the Editor's introduction:

"In this book, Henry King talks at length and in great detail about
his life

and career, which spanned virtually the entire history of American

cinema.

("I'm a pioneer," King Vidor once told Kevin Brownlow. "I've been in
this

business for years. But even when I first got to Hollywood,

Henry King was going strong.") He worked within nearly every
conceivable kind

of filmmaking style: from the filmed-on-location shorts for Lubin in

the Teens

to the foreign epics of the Twenties like The White Sister (1923)
and Romola

(1924, both filmed in Italy), to the glossy cinema of the Twentieth

Century-

Fox factory in the Thirties, Forties and Fifties....

Henry King never wrote an autobiography but he was interviewed in

great depth

several times later in his life. The Directors Guild of America,

having

commissioned some of these interviews, elected to, in effect,

construct an

autobiography from them.

King's words in this book are drawn from two sources: a series of
interviews
Página 29
 Englishzine 01

with King between 1976 and 1981 by film historian David Shepard; and
a lengthy

oral history conducted by Ted Perry in 1976. As editor, the task of

turning

this mountain of conversation into a book seemed straightforward

enough. I was

to take well over a thousand pages of interviews and transform them

into a

first person narrative, as though King were telling the story of his
life and

career independent of an interviewer....

I hope that the reader will find this informal visit with King as
fascinating

and informative as I have. His storytelling style is rather like his

directorial technique: simple, uncluttered and workmanlike, but

filled with

details of character and incident that make the stories come alive.
For such a

prolific artist, King was a remarkably personal filmmaker, drawing

on details

and emotions from his own past to bring his pictures to life."

About Henry King:

Henry King (January 24, 1886 – June 29, 1982) was an American film
director,
who was born in Christiansburg, Virginia.He waa active as a director
from 1916

to 1962, directing many well-known films including Jesse James, The

Song Of

Bernadette, Twelve O'Clock High, and Carousel (see Filmography

below).

Before coming to film, King worked as an actor in various repertoire

theatres,

and first started to take small film roles in 1912. He directed for
Página 30
 Englishzine 01
the first

time in 1915, and grew to become one of the most commercially

successful

Hollywood directors of the 1920s and 1930s. He was twice nominated

for the

Best Director Oscar. In 1944, he was awarded the first Golden Globe
Award for

Best Director for his film The Song Of Bernadette. He worked most
often with

Tyrone Power and Gregory Peck and for 20th Century Fox.

Henry King was one of the 36 founders of the Academy of Motion

Picture Arts

and Sciences, which awards excellence of cinematic achievements

every year,

and was the last surviving founder. He directed over 100 films in
his career.

In 1955, King was awarded The George Eastman Award, given by George
Eastman

House for distinguished contribution to the art of film.

During World War II, King served as the deputy commander of the
Civil Air

Patrol coastal patrol base in Brownsville, TX, holding the grade of

captain.

In his final years, he was the oldest licensed private pilot in the
United
States, having obtained his license in 1918.

FILMOGRAPHY:
1916 - Little Mary Sunshine
1917 - The Mate Of The Sally Ann
1918 - Powers That Prey
1918 - Social Briars
1919 - Where The West Begins
1920 - One Hour Before Dawn
1921 - Tol'able David
1922 - The Seventh Day
1923 - Fury
1923 - The White Sister
Página 31
 Englishzine 01
1924 - Romola
1925 - Stella Dallas
1926 - The Winning Of Barbara Worth
1926 - Partners Again
1927 - The Magic Flame
1928 - The Woman Disputed
1930 - Hell Harbor
1930 - Lightnin'
1931 - Merely Mary Ann
1931 - Over The Hill
1933 - State Fair (uncredited)
1933 - I Loved You Wednesday
1934 - Marie Galante
1935 - One More Spring
1935 - Way Down East
1936 - The Country Doctor
1936 - Ramona
1936 - Lloyd's of London
1937 - Seventh Heaven
1937 - In Old Chicago
1938 - Alexander's Ragtime Band
1939 - Jesse James
1939 - Stanley And Livingstone
1940 - Little Old New York
1940 - Maryland
1940 - Chad Hanna
1941 - A Yank In The RAF
1941 - Remember The Day
1942 - The Black Swan
1943 - The Song Of Bernadette
1944 - Wilson
1945 - A Bell For Adano
1946 - Margie
1947 - Captain From Castile
1948 - Deep Waters
1949 - Prince of Foxes
1949 - Twelve O'Clock High
1950 - The Gunfighter
1951 - I'd Climb The Highest Mountain
1951 - David And Bathsheba
1952 - The Snows Of Kilimanjaro
1953 - King of the Khyber Rifles
1955 - Untamed
1955 - Love Is A Many-Splendored Thing
1956 - Carousel
1957 - The Sun Also Rises
1958 - The Bravados
1959 - This Earth Is Mine
1959 - Beloved Infidel
1962 - Tender Is The Night

oooooooooooooooooooooooo
Página 32
 Englishzine 01

A Lost World

wanna be starring Cesar Romero (aka the Joker), Chick Chandler, Hugh
Beaumont

(played Ward Cleaver on Leave it to Beaver), John Hoyt (Star Trek,

TOG Pilot,

The Twilight Zone, Voyage to the Bottom of the Sea, Outer Limits,
and many TV

shows),and Whit Bissell (known for playing General Heywood Kirk in

The Time

Tunnel) and comic relief provided by Sid Melton ( many bit parts in
Adventures

of Superman, I Dream of Jeannie, The Dick Van Dyke Show, and as

Captain

Midnight's sidekick ( 1950's kid show).

Basically, a group of 5 men, led by Maj. Joe Nolan (Cesar Romero)

trek after a

lost rocket that has crash landed on a remote South Pacific Island.
There they

crash land and find a rather large mountain where their instruments
indicate

the rocket may be. After a tedious climb, they find (surprise) a
lost

continent complete with Brontosauri and Triceratopses. After finding

the

rocket, they climb back down the mountain, the whole place explodes
and they

escape in a canoe.

This is one of the best B SF movies ever, that is to say, it's so

bad it's

good.

BTW the special effects were done by Augie Lohman, noted for many B
movie
Página 33
 Englishzine 01

specials (including Barbarella) His techniques were reminiscent of

the

animation by Willis O'Brien (King Kong, Mighty Joe Young, The Lost
World (1925

version). and his protege Ray Harryhausen (Jason and the Argonauts,
The 7th

Voyage of Sinbad, Clash of Titans).

oooooooooooo
Página 35
------------------------------------------------
Syria.............. by AJF.

When you read an article about Syria in the Western media, always
remember:
1. Regime = Syrian legitimate Govt
2. Brutal Dictator Assad = Syrian legitimate President Bashar Al
Assad
3. Regime forces = Syrian National Army
4. Regime loyalists = Syrian civilians defending their villages
5. Regime supporters = All non jihadist Syrian citizens
6. Moderate opposition = terrorists who kill Syrians for regime
change
7. Rebels = Saudi Arabia and Western backed terrorists
8. Activists = One man based in the UK who is an ex convict in Syria
9. Pro Regime militia = Hezbollah and Syrian fighters helping the
Syrian Army

against rebels
10. Assad regime = The Syrian administration led by President Bashar
Assad.
11. Freedom fighters = Multi national terrorists working together
for

government change in Syria?

................................

Science Fiction Greats was no exception. It began publication in

Página 36
 Englishzine 01
1965 as Great

Science Fiction. It became Science Fiction Greats with issue #13 in

1969, then

became SF Greats Magazine for issue #18 in 1970, then became SF

Greats for the

rest of its run from issues #19 to #21, publishing its final issue
in Spring

1971.

CONTENTS:
Science Fiction Greats v01n13 [1969-Winter] (Ultimate Publishing
Co., 50¢,

132pp, digest)
fep • Robert Silverberg Issue: An Editorial • (1969) • essay by
Robert

Silverberg
4 • Guardian Of The Crystal Gate • (1956) • novelette by Robert
Silverberg

(Originally published in Fantastic, August 1956)

4 • Guardian Of The Crystal Gate (reprint) • (1969) • interior
artwork by

uncredited
30 • The Happy Unfortunate • (1957) • short story by Robert
Silverberg

(Originally published in Amazing Stories, December 1957)

31 • The Happy Unfortunate • (1957) • interior artwork by
Llewellyn
49 • Cartoon: "We interrupt this program to bring you an
important
bulletin!" • (1957) • interior artwork by Frosty
50 • Hole In The Air • (1956) • short story by Robert Silverberg

(Originally published in Amazing Stories, January 1956)

51 • Hole In The Air (reprint) • (1969) • interior artwork by
Virgil

Finlay
61 • Look Homeward, Spaceman • (1956) • short story by Robert
Silverberg

(Originally published in Amazing Stories, August 1956, as Calvin

Página 37
 Englishzine 01
Knox)
63 • Look Homeward, Spaceman (reprint) • (1969) • interior
artwork by

Llewellyn
74 • O' Captain, My Captain • (1956) • short fiction by Robert
Silverberg

(Originally published in Fantastic, August 1956, as Ivar

Jorgensen)
74 • O' Captain, My Captain (reprint) • (1969) • interior
artwork by

Virgil Finlay
83 • Cartoon: "I wonder who the center one's for?" (reprint) •
(1969) •

interior artwork by uncredited

84 • The Lunatic Planet • (1957) • short story by Robert
Silverberg

(Originally published in Amazing Stories, November 1957)

85 • The Lunatic Planet (reprint) • (1969) • interior artwork
by

uncredited
99 • Cartoon: "It's nice we can make a little spending money
while here

on Earth." • (1957) • interior artwork by Frosty

100 • Call Me Zombie! • (1957) • short story by Robert
Silverberg

(Originally published in Fantastic, August 1957)

101 • Call Me Zombie! • (1957) • interior artwork by Llewellyn
111 • Vault Of The Ages • (1956) • short story by Robert
Silverberg
(Originally published in Amazing Stories, August 1956)
111 • Vault Of The Ages (reprint) • (1969) • interior artwork
by Novick
119 • The Blue Plague • (1957) • short story by Robert
Silverberg

(Originally published in Amazing Stories, July 1957)

130 • Cartoon: "I had a feeling the authorities would question
us sooner

or later." • (1957) • interior artwork by Frosty

bep • Cartoon: "She wants us to put her in orbit. She says she
needs the

Página 38
 Englishzine 01
publicity." (reprint) • (1969) • interior artwork by Frosty
bep • Cartoon: "I've tried everything–maybe it's atmosphere
they need."

(reprint) • (1969) • interior artwork by Frosty

CONTENTS:
Science Fiction Greats v01n15 [1969-Summer] (Ultimate Publishing
Co., 50¢,

132pp, digest)
2 • The Protector • (1962) • interior artwork by Virgil Finlay
4 • Before Eden • (1961) • short story by Arthur C. Clarke
(Originally

published in Amazing Stories, June 1961)

4 • Before Eden • (1961) • interior artwork by Virgil Finlay
16 • Speed-Up! • (1964) • novelette by Christopher Anvil
(Originally

published in Amazing Stories, January 1964)

16 • Speed-Up! • (1964) • interior artwork by Dan Adkins
38 • Speed-Up! [2] • (1964) • interior artwork by Dan Adkins
43 • Arena Of Decisions • (1964) • short story by Robert F.
Young

(Originally published in Amazing Stories, March 1964)

43 • Arena Of Decisions • (1964) • interior artwork by George
Schelling

[as by Schelling ]
52 • Arena Of Decisions [2] • (1964) • interior artwork by
George

Schelling [as by Schelling ]

55 • Arena Of Decisions [3] • (1964) • interior artwork by
George
Schelling [as by Schelling ]
62 • The Protector • (1962) • short story by John Jakes
(Originally

published in Amazing Stories, May 1962)

62 • The Protector [2] • (1962) • interior artwork by Virgil
Finlay
74 • Cartoon: "I warned you against going in there!" • (1957) •
interior

artwork by Frosty
74 • Cartoon: no caption • (unknown) • interior artwork by
Frosty
75 • Speech Is Silver • (1965) • short story by John Brunner
Página 39
 Englishzine 01
(Originally

published in Amazing Stories, April 1965)

90 • Calling Dr. Clockwork • (1965) • short story by Ron Goulart

(Originally published in Amazing Stories, March 1965)

99 • Ready, Aim, Robot! • (1959) • novelette by Randall Garrett

(Originally published in Amazing Science Fiction Stories, July 1959)

99 • Ready, Aim, Robot! • (1959) • interior artwork by
uncredited
120 • The Traveling Couch • (1959) • short story by Henry Slesar

(Originally published in Amazing Science Fiction Stories, August

1959)
127 • The Traveling Couch • (1959) • interior artwork by Leo
Summers [as

by Summers ]
131 • Cartoon: "He's the first one we've seen with a tail." •
(1958) •

interior artwork by Frosty

131 • Cartoon: "Maybe it's hungry." • (1957) • interior artwork
by Frosty

00000000000000

Página 40
 Englishzine 01

Discovering Comics is a brief but information-packed history of

British comic

papers (and a couple of American comics, Famous Funnies and Action

Comics).

Denis Gifford (26 December 1927 – 18 May 2000) was a British writer,

broadcaster, journalist, prolific comic artist and writer (most

active in the

1940s, 50s and 60s, and an historian of film, comics, television,

and radio.

Gifford's work was largely for humor strips in British comics, often
for L.
Página 41
 Englishzine 01

Miller & Son. He was a highly influential comics historian,

particularly of

British comics from the 19th century to the 1940s.

Gifford was also a committed comic collector of British and US

comics, and

owned what has been called the "world's largest collection of

British comics."

Gifford's collection was the product of his lifelong passion for

comics and

popular culture, and his highly prolific research work was an

attempt to

provide a comprehensive history of the ephemeral. Particularly in

the early

decades of his writing on the subject, pop culture drew little

attention from

academic research and Gifford was particularly passionate about the

most

obscure examples of vintage comics, film, television and radio, and

determined

that they should be recognized, chronicled and remembered before

extant copies

were lost.

Despite his hopes that his vast collection might form the basis of a
national
museum of comics, through an archive such as the Victoria and Albert
Museum

National Art Library Comics and Comic Art Collection, it was broken
up and

auctioned off in 2001 after his death, "leaving 12 tons of paper at

his home

to be cleared and sorted." Bob Monkhouse reflected in the foreword

to the

auction catalogue of The Denis Gifford Collection on how one "whose

researches
Página 42
 Englishzine 01

were so meticulous have allowed this vast gathering of treasures to

have

swollen into such unruly and uncatalogued confusion". The sale was
described

in the auction pamphlet as "surely the largest private collection of

annuals,

books, cartoons, cinema history, comics, ephemera & original artwork

ever to

come on the market. The collection, housed in some 600 boxes and
weighing ten

tons, arrived on a groaning lorry and took five men nearly three
hours to

unload. We expect sales to run to some 4000 lots."

CONTENTS:
Introduction: The Editor's Chat! 3
Ally Sloper: Side-splitting, Sentimental And Serious! 4
Comic Cuts: One Hundred Laughs For One Half-penny! 7
The Big Budget: Three Papers For One Penny! 10
Puck: Bright Wings of Colour And Fancy! 14
The Rattler: Twelve Pages! Free Footballs! One Penny! 19
The Dandy: Our Funsters' Wiles Will Bring You Smiles! 23
Famous Funnies: 100 Comics - 10 Cents! 27
Action Comics: It's A Bird! It's A Plane! It's Superman! 49
Eagle: The New National Strip Cartoon Weekly! 54
Pow! For The New Breed Of Comic Fans! 57
British Comics Since 1960 60
Index 62

From the back cover:

About this book:
"The comic paper is a familiar sight on every bookstall in the land.
No family

home is without its collection of battered Beanos; no attic or

junkshop

complete without its pile of tattered Eagles. Perhaps comics are too
familiar,

too common to care about, for only Great Britain is without its
learned

society of comic strip historians (as found in France), a serious

magazine
Página 43
 Englishzine 01

devoted to cartoon archaeology (as in Italy), or an Academy of Comic

Book Arts

(as in America). Which is a pity, for comics were born in England.

In this concentrated but definitive history, Denis Gifford traces

the

evolution of the comic and its heroes from 'Ally Sloper' to 'Dan
Dare', from

'Weary Willie and Tired Tim' to 'Desperate Dan'. Along the way he
exposes a

trade secret here and drops a hint to comic collectors there,

illustrating the

whole with pictorial gems from his own vast collection."

About the author:

"Denis Gifford has been collecting comics since he learned to read
on Chick's

Own, and drawing comics since he contributed 'Magical Monty' to All

Fun in

1942 at the age of fourteen. Better remembered (and better drawn!)

are some of

his characters which appear on the cover of this book: 'MarveIman',

'Jim

Bowie', 'Stonehenge Kit the Ancient Brit', 'Flip and Flop',

'Steadfast

McStaunch', 'Our Ernie', 'Mrs. Entwhistle's Little Lad', and of

course,
Kuthben Koo Koo who komperes 'Koo Koo Klub' kurrently in Whizzer and
Chips.

After a long career cartooning for Beano, Knockout and Comic Cuts,
Denis

Gifford suddenly threw in his nib and turned to the typewriter. He

wrote

People Are Funny for Radio Luxembourg, the first daily comedy series
on

television, the opening show for BBC 2, and the long-running

Página 44
 Englishzine 01
radio panel game, Sounds Familiar. He has also published three books
about

films: British Cinema, Movie Monsters, and Science Fiction Film."

0000000000000000000000000

Robert A. Heinlein: America As Science Fiction. By H. Bruce Franklin

(Galaxy

Book GB 610) (Science-Fiction Writers Series) (New York: Oxford

University

Robert A. Heinlein: America As Science Fiction was the first

full-length study

of Robert A. Heinlein's life and literary career. It was originally

published

in hardcover in 1980 by Oxford University Press. This trade

paperback edition

marked its first appearance in paperback.

From the back cover:

"In 1939, a 32-year-old former naval officer— disabled by
tuberculosis saw an

ad in Thrilling Wonder Stories offering a $50 prize for the best

amateur

story. Thus began the career of Robert A. Heinlein.

Today, with thirty-six books in print and an audience of many

millions,

Heinlein is our most popular, controversial, and influential sf

author. Known

as "the dean of science fiction," he has won the Hugo award four
times, and

has been acclaimed by segments of American life as disparate as the

U.S. Naval
Página 45
 Englishzine 01

Academy, the libertarian movement, and Charles Manson. Words coined

in his

fiction have become part of our language.

Here is the only full-length study of Robert Heinlein's entire

career. H.

Bruce Franklin provides a detailed examination of each of Heinlein's

tales and novels (including his 1980 novel The Number Of The Beast),
the only

complete bibliography of his works, an annotated list of

writings about him, and original new material about his early life.
Franklin

also explains Heinlein's key role in spreading science fiction

throughout American culture in the form of movies, television
serials, comic

books, and games.

Franklin sees Heinlein as a central cultural phenomenon, an

incarnation of

"America as science fiction," expressing some of the deepest

dreams and nightmares of a rapidly changing society. By exploring
Heinlein's

imagination, Franklin offers us a new way of comprehending

America moving through the Depression, World War II, the Cold War,
the Vietnam

War, the rebellions of the 1960s, and the crises and apocalyptic
visions

unfolding from the 1970s into the 1980s. (A volume in the

Science-Fiction

Writers Series).

H. Bruce Franklin is Professor of English and American Literature at

Rutgers

University, Newark, and author of such seminal books as The Wake Of

The Gods:

Melville's Mythology, Back Where You Came From, and The Victim As
Criminal And

Artist. His Future Perfect: American Science Fiction Of The

Página 46
 Englishzine 01
Nineteenth Century

(GB241) opened science fiction to serious study as literature."

"Given that Heinlein is as central to modern science fiction as

science

fiction is to contemporary American culture, the serious study of

Heinlein's

work should illuminate both contexts. Such is indeed the case in

Franklin's

lucid and trenchant analysis. Not only does he provide a series of

interpretations literally bristling with insights but the

controlling dynamic

which Franklin discovers at the heart of Heinlein's fiction. . . has

implications for both the nature of the genre and the nature of
American

society." - David Ketterer.

CONTENTS:
1 / Robert A. Heinlein: His Time And Place / 3

2 / From Depression Into World War II: The Early Fiction / 17

3 / New Frontiers: 1947-59 / 64

The Last Frontier: Escape Into Space / 66
Fables For The Youth Of The Fifties: The Juvenile Series / 73
For Those With No Exit / 93
The End Of An Era: Starship Troopers and "All You Zombies—" / 110

4 / A Voice Of The 1960s / 126

Stranger In A Strange Land (1961) / 126
Podkayne Of Mars (1962-63) / 140
Glory Road (1963) / 146
Farnham's Freehold (1964) / 151
"Free Men" and The Moon Is A Harsh Mistress (1965-66) / 159

5 / The Private Worlds Of The 1970s / 172

I Will Fear No Evil (1970) / 172
Time Enough For Love: The Lives Of Lazarus Long (1973) / 180

6 / Apocalypse Now: The Number Of The Beast— (1980) / 198

Chronology / 213
Checklist Of Works By Robert A. Heinlein / 214
Página 47
 Englishzine 01
Select List Of Works About Robert A. Heinlein / 220
Index / 225

About The Author:

Howard Bruce Franklin (born February 1934), is an American cultural
historian,

author, and scholar. He is notable for receiving top awards for his
lifetime

scholarship in fields as diverse as American studies, science

fiction, prison

literature and marine ecology. So far he has written or edited

nineteen books

and three hundred professional articles and participated in making

four films.

His main areas of academic focus are science fiction, prison

literature,

environmentalism, the Vietnam War and its aftermath, and American

cultural

history. He was instrumental in helping to debunk false public

speculation

that Vietnam was continuing to hold prisoners of war. He helped to

establish

science fiction writing as a genre worthy of serious academic study.

In 2008,

the American Studies Association awarded him the Pearson-Bode Prize

for

Lifetime Achievement in American Studies. A critic of the Vietnam

War, he was

fired from Stanford in 1972 as a result of his firmly held

positions, and the

termination brought nationwide attention to the issue of academic

freedom.

Since 1975, he is the John Cotton Dana Professor of English and

American

Studies at Rutgers University in Newark, New Jersey.

Franklin has a lifelong passion for science fiction and has been a
Página 48
 Englishzine 01
guest

curator on topics about Star Trek and Star Wars.

His book Future Perfect: American Science Fiction Of The Nineteenth

Century

(1966) identified American authors including Washington Irving,

Edgar Allan

Poe, Nathaniel Hawthorne and Herman Melville as pioneers of this

genre who

wrote science fiction, contrary to popular understanding. His Robert

A.

Heinlein: America As Science Fiction won the Eaton Award for best SF
critical

book of the year in 1981, and contributed to Franklin receiving the

Pilgrim

Award from the Science Fiction Research Association for lifetime

scholarship

in 1983.

His 1988 book War Stars: The Superweapon And The American
Imagination was

cited by leftist philosopher and linguist Noam Chomsky, who bemoaned

the

prevalence of a recurring theme in popular literature that "we're

about to

face destruction from some terrible, awesome enemy." Franklin's

research
explored America's fascination with superweapons. He argued in War
Stars: The

Superweapon And The American Imagination (selected by Choice as the

Outstanding Academic Book of 1989) that popular American books and

novels in

preceding decades and centuries, which dealt with the themes of

superweapons,

may have helped to shape national thinking on this subject. His book
presents
Página 49
 Englishzine 01

a view that, ironically, from Robert Fulton’s submarine Nautilus in

the 18th

century to the death-dealing weaponry of the late 20th century,

superweapons

ostensibly designed to end war have proved capable of exterminating

the human

species. The expanded 2008 edition explores how this cultural

history led to

the seemingly permanent state of warfare of the 21st century. War

Stars is

informed by Franklin’s own earlier experience as a navigator and

intelligence

officer in the Strategic Air Command. When the movie Independence

Day appeared

in 1996, Franklin said "Fundamental to the historical experience of

[American]

culture are alien invaders who came armed with a superior technology
and wiped

out the culture that was here."

In 1991, he was Guest Curator for the Star Trek and the Sixties
exhibit at

the National Air and Space Museum of the Smithsonian Institution;

this show

subsequently traveled to the Hayden Planetarium.

0000000000000000000000000000000000000000

Página 50
 Englishzine 01

The Dreams Our Stuff Is Made Of: How Science Fiction Conquered The
World. By

Thomas M. Disch (New York: The Free Press, 1998) (256 pages) (Dust
jacket

The Dreams Our Stuff Is Made Of: How Science Fiction Conquered The
World

(1998) was awarded the 1999 Hugo Award for best "related" (i.e.,
non-fiction)

book.

It's an overview of the interactions between science fiction and the

real

world, written by Thomas M. Disch, a noted author in the field. It

is neither

a history of science fiction nor a collection of personal anecdotes,

but

contains some of each, and is written somewhat conversational style,

designed

to appeal to both a relative newcomer to science fiction and an

expert in the

field.

In this book Disch makes several arguments: That America is a nation

of liars,

and for that reason science fiction has a special claim to be our
national

literature, as the art form best adapted to telling the lies we like
to hear
Página 51
 Englishzine 01

and to pretend we believe. That Edgar Allan Poe was the first SF
author (as

opposed to authors such as Mary Shelley or Cyrano de Bergerac). And

that the

three greatest SF authors are Poe, Jules Verne and H. G. Wells. He

levels

attacks against writers who in his opinion have attempted to trick

or

manipulate readers by presenting science fiction as fact—namely

Erich von

Däniken and L. Ron Hubbard—and examines the use of science fiction

to promote

a political ideology, singling out Ursula K. Le Guin's feminism and

Robert A.

Heinlein for advocating the growth of the military-industrial

complex. The

book also examines the manner in which the real world is represented
in

science fiction allegory, such as the argument that the aliens of

Star Trek

represent non-Caucasian humans, and that science fiction provides an

insight

into the strategies of the American military.

About The Author:

Thomas Michael Disch (February 2, 1940 – July 4, 2008) was an
American science

fiction author and poet. He won the Hugo Award for Best Related Book
–

previously called "Best Non-Fiction Book" – in 1999, and he had two

other Hugo

nominations and nine Nebula Award nominations to his credit, plus

one win of

the John W. Campbell Memorial Award, a Rhysling Award, and two Seiun
Awards,

Página 52
 Englishzine 01
among others.

In the 1960s, his work began appearing in science-fiction magazines.

His

critically acclaimed science fiction novels, The Genocides, Camp

Concentration, 334 and On Wings Of Song are major contributions to

the New

Wave science fiction movement. In 1996, his book The Castle Of

Indolence: On

Poetry, Poets, And Poetasters was nominated for the National Book
Critics

Circle Award, and in 1999, Disch won the Nonfiction Hugo for The
Dreams Our

Stuff Is Made Of, a meditation on the impact of science fiction on

our

culture, as well as the Michael Braude Award for Light Verse. Among
his other

nonfiction work, he wrote theatre and opera criticism for The New
York Times,

The Nation, and other periodicals. He also published several volumes

of poetry

as Tom Disch.

Following an extended period of depression following the death in

2005 of his

life-partner, Charles Naylor, Disch stopped writing almost entirely,

except
for poetry and blog entries – although he did produce two novellas.
Disch

committed suicide by gunshot on July 4, 2008 in his apartment in

Manhattan,

New York City. His last book, The Word Of God, which was written
shortly

before Naylor died, had just been published a few days before
Disch's death.

Disch was born in Des Moines, Iowa, on February 2, 1940. Because of

Página 53
 Englishzine 01
a polio

epidemic in 1946, his mother Helen home-schooled him for a year. As

a result,

he skipped from kindergarten to second grade. Disch's first formal

education

was at Catholic schools; which is evidenced in some of his works

which contain

scathing criticisms of the Catholic Church. The family moved in 1953

to St.

Paul in Minnesota, rejoining both pairs of grandparents, where Disch

attended

both public and Catholic schools. In the Saint Paul public schools,
Disch

discovered his long-term loves of science fiction, drama, and

poetry. He

describes poetry as his stepping-stone to the literary world. A

teacher at St.

Paul Central, Jeannette Cochran, assigned 100 lines of poetry to be

memorized;

Disch wound up memorizing ten times as much. His early fascination

continued

to influence his work with poetic form and the direction of his
criticism.

After graduating from high school in 1957, he worked a summer job as

a trainee
steel draftsman, just one of the many jobs on his path to becoming a
writer.

Saving enough to move to New York City at the age of 17, he found a
Manhattan

apartment and began to cast his energies in many directions. He

worked as an

extra at the Metropolitan Opera House in productions of Spartacus

for the

Bolshoi Ballet, Swan Lake for the Royal Ballet, and Don Giovanni,
Tosca and
Página 54
 Englishzine 01

others for the Met. He found work at a bookstore, then at a

newspaper. At the

age of 18, a penniless, friendless, gay teenager, he attempted

suicide by gas

oven, but survived. Later that year, he enlisted in the army.

Disch's

incompatibility with the armed forces quickly resulted in a nearly

three-month

commitment to a mental hospital.

After his discharge, Disch returned to New York and continued to

pursue the

arts in his own indirect way. He worked, again, in bookstores, and

as a

copywriter. Some of these jobs paid off later; working as a cloak

room

attendant in New York theater culture allowed him to both pursue his
lifelong

love of drama and led to work as a magazine theater critic.

Eventually, he got

another job with an insurance company and went to school. A brief

flirtation

with architecture led him to apply to Cooper Union, where he was

told he got

the highest score ever on their entrance exam, but dropped out after
a few
weeks. He then went to night school at New York University (NYU),
where

classes on novella writing and utopian fiction developed his tastes

for some

of the common forms and topics of science fiction. In May 1962, he

decided to

write a short story instead of studying for his midterm exams. He

sold the

story, "The Double Timer", for $112.50, to the magazine Fantastic.

Página 55
 Englishzine 01
Having

begun his literary career, he did not return to NYU but rather took
another

series of odd jobs such as bank teller, mortuary assistant, and copy
editor –

all of which served to fuel what he referred to as his night-time

"writing

habit". Over the next few years he wrote more science fiction
stories, but

also branched out into poetry; his first published poem, "Echo and
Narcissus",

appeared in the Minnesota Review's Summer 1964 issue.

Disch entered the field of science fiction at a turning point, as

the pulp

adventure stories of its older style began to be challenged by a

more serious,

adult, and often darker style. This movement, called New Wave, tried
to show

that the ideas and themes of science fiction could be developed

beyond the

simple engineering-mechanical approach of traditional SF. Rather

than trying

to compete with mainstream writers on the New York literary scene,

Disch

plunged into the emerging genre of science fiction, and began to

work to

liberate it from some of its strict formula and narrow conventions.

His first

novel, The Genocides, appeared in 1965; Brian W. Aldiss singled it

out for

praise in a long review in SF Impulse. Much of his more literary

science

fiction was first published in English author Michael Moorcock's New

Wave

Página 56
 Englishzine 01
magazine, New Worlds.

Disch was widely traveled and lived in England, Spain, Rome, and
Mexico. In

spite of this, he remained a New Yorker for the last twenty years of
his life.

He said that "a city like New York, to my mind, is the whole world",
keeping a

long-time New York residence overlooking Union Square.

Writing had become the dominant focus of his life. Disch described
his

personal transformation from dilettante to "someone who knows what

he wants to

do and is so busy doing it that he doesn't have much time for

anything else."

After The Genocides, he wrote Camp Concentration and 334. More books
followed,

including science fiction novels and stories, gothic works,

criticism, plays,

a libretto for an opera of Frankenstein, prose and verse children's

books such

as A Child's Garden Of Grammar, and ten poetry collections. In the

1980s, he

moved from science fiction to horror, with a series of books set in

Minneapolis: The Businessman, The M.D., The Priest, and The Sub.
His writing included substantial freelance work, such as regular
book and

theater reviews for The Nation, The Weekly Standard, Harper's, The
Washington

Post, The Los Angeles Times, The New York Times, the Times Literary

Supplement, and Entertainment Weekly. Recognition from his

award-winning books

led to a year as "artist-in-residence" at William and Mary College.

During his

Página 57
 Englishzine 01
long and varied career, Disch found his way into other forms and
genres. As a

fiction writer and a poet, Disch felt typecast by his science

fiction roots.

"I have a class theory of literature. I come from the wrong

neighborhood to

sell to The New Yorker. No matter how good I am as an artist, they

always can

smell where I come from."

Though Disch was an admirer of and was friends with the author
Philip K. Dick,

Dick would write an infamous paranoid letter to the FBI in October

1972 that

denounced Disch and suggested that there were coded messages,

prompted by a

covert organization, in Disch's novel Camp Concentration. Disch was

unaware

and he would go on to champion the Philip K. Dick Award. In his

final novel,

however, The Word Of God, Disch got his revenge on Dick, with a
story in which

Dick is dead and living in Hell, unable to write because of writer's

block. In

return for a taste of human blood, which will unlock his ability to
write, he
makes a deal to go back in time and kill Disch's father, so that
Disch will

never be born, and at the same time to kill Thomas Mann and thereby
to insure

that Hitler wins World War II.

He maintained an apartment in New York City, sharing it and a house

in

Barryville, New York, with his partner of three decades, poet

Charles Naylor.

Página 58
 Englishzine 01
Disch's private life remained private, for the most part. He was
publicly gay

since 1968; this came out occasionally in his poetry and

particularly in his

1979 novel On Wings Of Song. He did not try to write to a particular

community: "I'm gay myself, but I don't write 'gay' literature." He

rarely

mentioned his sexuality in interviews, though he was interviewed by

the

Canadian gay periodical The Body Politic in 1981. After Naylor's

death in

2005, Disch had to abandon the house, as well as fight attempts to

evict him

from his rent controlled apartment, and he became steadily more

depressed. He

wrote on a LiveJournal account from April 2006 until his death (he
committed

suicide by fatally wounding himself in the head via gunshot), in

which he

posted poetry and journal entries.

Disch was an outspoken atheist as well as a satirist; his last novel

The Word

Of God was published by Tachyon Publications in the summer of 2008.

His last
published work, the posthumous story collection The Wall Of America,
contains

material from last half of Disch's career.

Enjoy!''''''''''''''''''''''

Heliosium said: Many if all the translators were old timers without
any

connection with the man in the Moon, rockets and voyages to the
space , so

they could not connect a god with an astronaut, nor a golden ray
Página 59
 Englishzine 01
with a

spaceship. Upon that, they were paid to be on site translating by:

religious

organizations that will not permit to change the tradition that

mantains them

in high position by any way. Etc.

ppppppppppppp

The Blue Book Magazine [v89 #3, July 1949] ed. Donald Kennicott
(McCall

Corporation, 25¢, 144pp, letter)

These United States...XXXI—Iowa · Benton Clark · cv

These United States...XXXI—Iowa: The Heart of America · Anon. · nf;
illus.

Benton Clark
Readers’ Comment · [The Readers] · lc
_ · [letter] · James L. Dalton · lt
_ · [letter] · Nick Zell · lt
_ · [letter] · Agatha Brungardt · lt
2 · Serenade in Leadville · Lynn Montross · ss; illus. John Fulton
9 · The Tiger’s Hour · Herbert Ravenel Sass · ss; illus. Charles
Chickering
16 · Normandy Break-Through · C. Donald Wire & Forrest Shugart · nf;
illus.

Hamilton Greene
25 · Flags of Our Fathers · H. Bedford-Jones · ex The Blue Book
Magazine Jul

1942, as “To You, Old Glory”; excerpt from the first story in the
“Flags of
Our Fathers” series. The excerpt was published in the July 1942
issue and the

full story in the August 1942 issue.

26 · A Frame for the Duke [The Old Neighborhood] · Joel Reeve · ss;
illus.

Raymond Sisley
Sport Spurts · Harold Helfer · cl
34 · Dogs of Destiny [Part 1 of 3] · Fairfax Downey · nf; illus.
Paul Brown
38 · Songs That Have Made History: XIII. Aj, Lúcka, Lúcka! · Fairfax
Downey ·

Página 60
 Englishzine 01
nf
39 · Pie in Ye Sky · Captaine John Smith · ia; brief extract from A
Booke of

Captaine John Smith, 1622, illuminated and illustrated by Peter

Wells; illus.

Peter Wells
40 · Sleuths with Sirens · Stewart Sterling · nf; illus. Raymond
Thayer
44 · By Appointment · Arthur Gordon · ss; illus. Frederick Chapman
50 · Picturesque People: XIV: The Incredible Captain Boyton · John
Ferris · nf
54 · The Passing of Effie · Harry Botsford · ss; illus. Charles
Chickering
Birds Are Like That · Simpson M. Ritter · cl
58 · Sea Toll · Bill Adams · nf; illus. Raymond Sisley
65 · Cloudy in the West · Allan Bosworth · ss; illus. Loran Wilford
70 · The Rolling Tons · William E. Barrett · na; illus. John
McDermott
84 · Position Unknown · Peter Dollar · ss; illus. Grattan Condon
89 · Bronc’ Stomper · Frank Bonham · ss Liberty Apr 28 1945; given
as “The

Bronc’ Stomper” in the Table of Contents; illus. Charles Hargens

96 · The Devil’s Luck [Benvenuto Cellini] · Wilbur S. Peacock · ss;
illus.

John Fulton
108 · Star of Doom [Part 1 of 2] · Lewis Sowden · sl; illus. John
McDermott
ibc · Who’s Who in This Issue · [The Editor] · cl [Lynn J. Montross;
Harry

Botsford; Arthur Gordon; H. Bedford-Jones]; profiles & photos of

Lynn

Montross, Harry Botsford; profile only of Arthur Gordon; photo and

obit of H.

0000000000000000000000000000000000000000000000

I turned against the left wing because they don't like genetics,
because
Página 61
 Englishzine 01

genetics implies that sometimes in life we fail because we have bad

genes.

They want all failure in life to be due to the evil system.

000000000000000000000000000000000000000000000000000

SIRMIO................MARIA PIA.

Paene insularum, Sirmio, Insularumque

ocelle, quascumque in liquentibus stagnis
marique vasto fert uterque neptunus,
quam te libenter quamque laetus inviso,
vix mi ipse credens Thyniam atque Bithynos
liquisse campos et videre te in tuto.
O quid solutis est beatius curis,
cum mens onus reponit, ac peregrino
labore fessi venimus larem ad nostrum,
desideratoque acquiescimus lecto?
Hoc est quod unum est pro laboribus tantis.
Salve, o venusta Sirmio, atque ero gaude
gaudente; vosque, o Lydiae lacus undae,
ridete quidquid est dome cachinnorum.

english:

Sirmio, jewel of islands and of peninsulas,

Whatever each Neptune carries
In the stagnant clear waters and in the vast sea,
How gladly and how happy I see you,
Scarcely myself believing myself that I have left behind
Thynia and the Bithynian fields and that I see you in safety.
O what is more blessed than cares freed,
When the mind puts down its burden,
And we tired from foreign labor come
To our hearth and rest in a longed for bed?
This is that which is the one thing for such great labors.
Greetings, O beautiful Sirmio, and rejoice in your master rejoicing;
And you, O Lydian waves of the lake,
Laugh whatever there is of laughter at home.

000000000000000000000

From Chile: We like it or not, we are repeating old recipes that in

every case

has ended as bad as it can be. We have the Roman Empire (USA) doing
whatever

they like with the tiny little countries, and the Barbarians getting
stronger
Página 62
 Englishzine 01

by the hour. The difference is that now the Empire could fly and
throw bombs

over the heads of their "enemies" (you must read here "prey"). Some
day the

Barbarians will make a stew with the Empire and we will all suffer
the

consequences, we like it or not.

000000000000000000000000
The Best Mysteries Of Isaac Asimov. [The Master's Choice Of His Own

Favorites]. By Isaac Asimov (Garden City, NY: Doubleday & Company,

Inc., 1986)

The Best Mysteries Of Isaac Asimov is a collection of thirty-one

mystery

stories by Isaac Asimov, seven of which were previously uncollected.

It was

originally published in hardcover in 1986 by Doubleday & Company.

CONTENTS:
"I have chosen the stories I consider the best and not necessarily
those that

critics or readers do." So says Isaac Asimov of this marvelous new

anthology, the first "best of" edition of his extraordinary
mysteries.

From the classic Black Widower and Union Club series to a wide
variety of

other intriguing tales, many of the thirty-one selections in this

volume have

never before been collected in book form. Each is introduced with a

short and

lively commentary from the Good Doctor himself, and all add up to
the perfect

Asimov formula for sheer entertainment and pure delight.

Página 63
 Englishzine 01
Discover here "The Obvious Factor," the haunting account of a young
woman's

psychic power, and of a mystery more bizarre than the supernatural;

"The

Sign," a clever tale that applies knowledge of the zodiac to solve a

grisly

murder; "A Problem of Numbers," in which the key to a young man's

happiness

lies in the solution to a cryptogram—if he can find it; and

twenty-eight other

puzzlers that bring a dazzling new luster to an age-old and timeless

genre.

With its potent mix of mayhem and madness, eerie twilight places and
startling

reality, The Best Mysteries Of Isaac Asimov offers a feast for fans
and a very

special treasury for those meeting the Master for the first time.

Isaac Asimov has written over 340 books on subjects ranging from the
Bible and

Shakespeare to math and alien encounters. He is perhaps the best

known—and

certainly the best loved—of all science fiction authors, with over
ten million

copies of his works sold worldwide....The Best Mysteries Of Isaac

Asimov is
the companion volume to The Best Science Fiction Of Isaac Asimov..."

CONTENTS:
The Best Mysteries Of Isaac Asimov Isaac Asimov (Doubleday
0-385-19783-7,

August 1986 [July 1986], $17.95, 345pp, hc) Mostly non-sf/fantasy,

associational. Collection of 31 stories including some sf mysteries.

7 of the

stories have not been collected before.

xi · Introduction · in
3 · The Obvious Factor [Black Widowers] · ss EQMM May 1973
Página 64
 Englishzine 01
17 · The Pointing Finger [Black Widowers] · ss EQMM July 1973
31 · Out Of Sight [“The Six Suspects”; Black Widowers] · ss EQMM
December 1973
47 · Yankee Doodle Went To Town [Black Widowers] · ss Tales Of The
Black

Widowers, Garden City, NY: Doubleday, 1974

63 · Quicker Than The Eye [Black Widowers] · ss EQMM May 1974
77 · The Three Numbers [“All In The Way You Read It”; Black
Widowers] · ss

EQMM September 1974

93 · The One And Only East [Black Widowers] · ss EQMM March 1975
108 · The Cross Of Lorraine [Black Widowers] · ss EQMM May 1976
124 · The Next Day [Black Widowers] · ss EQMM May 1978
139 · What Time Is It? [Black Widowers] · ss The Casebook Of The
Black

Widowers, Garden City, NY: Doubleday, 1980

155 · Middle Name [Black Widowers] · ss The Casebook Of The Black
Widowers,

Garden City, NY: Doubleday, 1980

170 · Sixty Million Trillion Combinations [“64 Million Trillion
Combinations”;

Black Widowers] · ss EQMM May 5 1980

184 · The Good Samaritan [Black Widowers] · ss EQMM September 10
1980
199 · Can You Prove It? [Black Widowers] · ss EQMM June 17 1981
213 · The Redhead [Black Widowers] · ss EQMM October 1984
231 · He Wasn’t There [“The Spy Who Was Out-of-Focus”; Union Club] ·
ss

Gallery February 1981

237 · Hide And Seek [Union Club] · ss Gallery May 1981
243 · Dollars And Cents [“Countdown to Disaster”; Union Club] · ss
Gallery
January 1982
249 · The Sign [“The Telltale Sign”; Union Club] · ss Gallery April
1982
255 · Getting The Combination [“Playing It by the Numbers”; Union
Club] · ss

Gallery June 1982

261 · The Library Book [“Mystery Book”; Union Club] · ss Gallery
July 1982
267 · Never Out Of Sight [“The Amusement Lark”; Union Club] · ss
Gallery March

1983
Página 65
 Englishzine 01
273 · The Magic Umbrella [“Stormy Weather”; Union Club] · ss Gallery
May 1983
279 · The Speck [Union Club] · ss EQMM December 1983
287 · The Key [Wendell Urth] · nv F&SF October 1966
316 · A Problem Of Numbers · ss EQMM May 1970; as “As Chemist To
Chemist”,

IASFM November 1978

321 · The Little Things · ss EQMM May 1975
325 · Halloween · ss The American Way October 1975
329 · The Thirteenth Day Of Christmas · ss EQMM July 1977
333 · The Key Word · ss The Key Word And Other Mysteries, New York:
Walker,

1977
337 · Nothing Might Happen! · ss AHMM December 1983

00000000000000

Links:
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Frascara
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Página 66
 Englishzine 01

http://www.4shared.com/document/IYG6eAyz/EVITA.htm

l<a href="http://www.4shared.com/document/IYG6eAyz/EVITA.html"

target=_blank>EVITA.DOC</a>

[URL=http://www.4shared.com/document/IYG6eAyz/EVITA.html]EVITA.DOC[/
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oc[/URL]

oooooo

<a href="http://www.4shared.com/document/blAImus7/conquist.html"

target=_blank>conquist.htm</a>

oooooooo

http://www.4shared.com/document/blAImus7/conquist.html]conquist.htm

http://www.4shared.com/document/ARoiyXBo/carmona.html

http://es.groups.yahoo.com/group/CasaJuilletScienceFiction/

ooooooooooooo

heliosium
Graham Dillinger That God (a kind of The Force, but having control
of it all ,

as it is inside Nature) exists, does not mean the jewbible is true.

The Bible
is a edited version of the Sumerian tablets plus the history of
Jewland, with

every notion they could grab from the neighbor´s legends. Seems God
has never

talked with Moses, never has come as Jesus the man, and simply
because is part

of the world. Does not need to "come". Why? Look "matter", existing
in a

minimum quantity inside the atom, that in true words, is only

Página 67
 Englishzine 01
vibration, so it

really does not exist. Why? Because God is a spirit that built
Universe out of

nothing more than his vibration, that He increases and make worlds.
yeah,

sounds like Hindu legend, but backed up by science. While JHW and
Jesus are

not.?0000000000

. ooooooooooooooooo

NEW: Dime Mystery Magazine v10 n04 [1936-03]

Dime Mystery Magazine.

Dime Mystery Magazine began its monthly run in December 1932 as Dime
Mystery

Book Magazine, which contained a "two-dollar novel" and two to three

short

stories for ten-cents. The content was the general mystery/

detective fiction

like that found in Dime Detective. The covers of each issue featured
the image

of a book, on the cover of which appeared the actual cover-art. It

suggested

that one was indeed receiving a full-length novel for the price of a
magazine.

The long novel form proved problematic, however, and the title was
failing

after just a few issues.

Steeger, hoping to create a companion title to Dime Detective,

decided to move

the magazine in a new direction with the October 1933 issue. In

doing so,

Página 68
 Englishzine 01
Steeger created a new genre: "weird menace" or "shudder" pulps. In
this

transformation, the magazine dropped both the "Book" from its title
and the

book from its cover art. Steeger also changed the form of the
magazine: rather

than one large novel, he included a half-novel sized novella, two to

three

shorter novelettes, and several short stories.

Inspired by Grand Guignol French theatre and Gothic melodrama, the

weird

menace genre was a combination of mystery and terror; this

combination is more

of a continuum, however, and occasionally, the magazine's individual

stories

tend towards hardboiled detective fiction on the one hand or

outright horror

on the other. The editors, although lax in their demand for a

specific mixture

of the two genres, were consistent in their demand for a natural/

rational, if

often unbelievable, explanation behind the seemingly-supernatural,

sensational

plot twists integral to the story. Regarding the preferred content,

Terrill
stated:

In Dime Mystery Magazine we want the same strong emotional terror,

but are

more apt to demand a definite mystery angle. Here we also prefer lay

characters who by force of circumstances are thrown into a terrific

plight,

where there is a sinister menace against the hero and heroine. We do

our best

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to keep away from detective characters of any kind; the newspaper
reporter is

also overdone. Doctors, lawyers, clerks, lay figures in ordinary

walk of life

are the best material. And in Dime Mystery, we demand a convincing

motivation

for the villain's actions. He may be mentally unbalanced, may be

suffering

from a complex, but he should be fiendishly clever, should have a

sound reason

for his villainy. We will permit a strong scientific angle if within

the realm

of the possible, but we prefer to avoid the pseudo-scientific....

[I]n all

cases the villain should be brought to heel by the direct efforts of

the hero.

Villains in these stories were often physically deformed and/ or

psychopathic

killers who "carried out horrible and unaccountable murders" through

greed- or

lust-driven motives, while "the single greatest threat in the weird

menace

story was the dread of vivisection."

Dime Mystery only credited its artists in the first two years of its
history,
and so many of those artists now remain unknown. Delos Palmer and
Walter M.

Baumhofer are two very famous exceptions, however, from the

beginning of the

magazine's run. Baumhofer illustrated the premier covers for The

Spider and

Doc Savage. He also sold work to the slicks, including Cosmopolitan

and

McCall's. Known interior-artists include John Fleming Gould, a

Popular
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Publications workhorse, and Amos Sewell, who also did work for The
New York

Times and The Saturday Evening Post.

The peak of the "weird menace" phase of Dime Mystery coincided with
the most

profitable year for its publishing house; Popular Publications had

one hundred

and thirty pulp titles that were read by thirty million people a
month in

1937. Since the Audit Bureau of Circulations lists Popular’s

publications as a

master group, combining its titles into one statistic, determining

specific

circulation numbers for Dime Mystery is difficult. Nonetheless,

considering

that Popular continued the genre in titles such as Terror Tales and
Horror

Stories, other publishing houses attempted to emulate the genre, and

that the

magazine was relatively long lived (1932-1949), we can surmise that

the title

was quite popular, especially during its iconic sensual, violent

incarnation.

Like any good mystery plot, the denouement of Dime Mystery’s sadism
phase
quickly followed its 1937 climax. By late 1938, the magazine had
almost

entirely phased out its over-the-top sex and violence. Hoppenstand

and Browne

blame "formula saturation" for the demise of the sadistic phase of

weird

menace, and suggest that audiences had become desensitized to the

violence and

sensationalism of the formulaic fiction. From 1938 to 1940, the

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"defective

detective" characters took over the content of the magazine as the

"sex-

sadism" was phased out. Rather than concentrating on "weird menace,"

the

fiction contained a deformed or diseased hero detective who

"protected society

against the most ghastly of villains…and guarded 'normal' folk from

being

afflicted with the most abominable of physical terrors." Heroes were

more

"humanized" through their afflictions. No longer idealized, they

instead

overcame terrible physical obstacles and ailments.

CONTENTS:

Dime Mystery Magazine [v10 #4, March 1936] (10¢, 128pp+, pulp, cover
by Tom

Lovell)

8 · Necklaces for the Dying · Frederick C. Davis · na

34 · Death’s Warm Fireside · Paul Ernst · ss
40 · Brides for the Beast · Wayne Rogers · na
67 · Bedfellow from Hell · Larry Moore · ss
76 · The Embalmers · Garry Grant · nv
95 · Locked in with Death · Dale Clark · ss
104 · Convicts from Hell · George Alden Edson · nv
115 MB

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Please donate through PAYPAL to alfjuillet@yahoo.com

Thanks and good bye.

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