The God That Failed, edited by Richard Crossman, M.P. – (1949) 1959

If despair and loneliness were the main motives for conversion to Communism,
they were greatly strengthened by the Christian conscience.
Here again, the intellectual, though he may have abandoned orthodox Christianity,
felt its prickings far more acutely than many of his unreflective church-going neighbors.
He at least was aware of the unfairness of the status and privileges which he enjoyed,
whether by reason of race or class or education.
The emotional appeal of Communism lay precisely in the sacrifices –
both material and spiritual –
which it demanded of the convert.
You can call the response masochistic, or describe it as a sincere desire to serve mankind. 
But, whatever name you use, the idea of an active comradeship of struggle –
involving personal sacrifice and abolishing differences of class and race –
has had a compulsive power in every Western democracy.
The attraction of the ordinary political party is what it offers to its members:
the attraction of Communism was that it offered nothing and demanded everything,
including the surrender of spiritual freedom.

Here, indeed, is the explanation of a phenomenon which has puzzled many observers.
How could these intellectuals accept the dogmatism of Stalinism? 
The answer is to be found scattered through the pages which follow. 
For the intellectual, material comforts are relatively unimportant;
what he cares about most is spiritual freedom. 
The strength of the Catholic Church has always been that it demands the sacrifice of that freedom
uncompromisingly,
and condemns spiritual pride as a deadly sin.
The Communist novice, subjecting his soul to the cannon law of the Kremlin,
felt something of the release which Catholicism also brings to the intellectual,
wearied and worried by the privilege of freedom.

Once the renunciation has been made, the mind,
instead of operating freely,
becomes the servant of a higher an unquestioned purpose.
To deny the truth is an act of service. 
This, of course, is why it is useless to discuss any particular aspect of politics with a Communist. 
Any genuine intellectual contact which you have with him
involves a challenge to his fundamental faith, a struggle for his soul. 
For it is very much easier to lay the oblation of spiritual pride on the altar of world revolution
than to snatch it back again.  (Richard Crossman)

Astounding Science Fiction – June, 1950 (Ron Miller) [Featuring “Incommunicado”, by Katherine MacLean]

Illustration by Paul Orban, for  Isaac Asimov’s story “The Evitable Conflict” (p. 49)

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Illustration by Paul Orban, for  Isaac Asimov’s story “The Evitable Conflict” (p. 56)

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Illustration by Paul Orban, for  Isaac Asimov’s story “The Evitable Conflict” (p. 63)

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Illustration by Hubert Rogers, for A.E. van Vogt’s story “The Wizard of Linn” (Part II) (p. 103)

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Illustration by Hubert Rogers, for A.E. van Vogt’s story “The Wizard of Linn” (Part II) (p. 111)

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Illustration by Hubert Rogers, for A.E. van Vogt’s story “The Wizard of Linn” (Part II) (p. 126)  This is the “original” art as published in Astounding, in which Rogers has rendered the image in “inverted” tones.

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The same image as above, with black & white tones “inverted” (a la Photoshop…) to “positive” tones.

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Illustration by Hubert Rogers, for A.E. van Vogt’s story “The Wizard of Linn” (Part II) (p. 143)

Face of a Hero, by Louis Falstein – 1951 (Al Schmidt)

The two images below, of the first (1950) edition (Harcourt, Brace and Company) of Face of A Hero, show the book’s front cover / spine, and title page, the latter including an illustration of an aviator’s flight helmet, goggles, and oxygen mask.  

The book’s cover combined and is limited to two fundamental elements: one symbolic – a human face; the other quite “real” – a formation of six B-24 Liberator bombers under attack by two enemy fighter planes.  Though the novel’s general setting is, of course, the WW II air war against Germany,  it’s intriguing that the cover art is set upon varying tones of red, rather than cooler “aerial” shades of blue, gray, and white.

Though the artist’s name is not presented on either the cover or within the book itself, stylistically, the human face at least seems to be reminiscent of the work of Ben Shahn…  (Well, maybe!)

It occurred to me I must write to Ruth, but I didn’t know what to tell her.
A subtle wall was being erected between my wife and me
because we had not shared this experience.
I realized with a shock that my wife was a civilian, safe back in the States.
And I suddenly resented those who were safe.
I was appalled at the ease with which I abandoned myself to self-pity
even in my hour of triumph.
But aside from the corrupting but very comfortable stabs of self-pity
there was no denying that my most profound experience had been shared with me
not by Ruth but by nine comparative strangers.
They were now a part of my life, part of my joys and sorrows.
We had not chosen one another as brothers; it had been ordained for us.
Mel Ginn, a rancher from western Texas, was my brother.
I didn’t know much about him and he was suspicious of me because I came from a large city.
He was amused by my clumsiness with the guns.
He was puzzled that an “old man” had got himself mixed up in the fighting.
Mel had never met a Jew before and this confused him also.
Before our first mission we had little to say to each other.
But today we had been through life together.
Before our first mission Leo Trent and I had little in common.
Leo used to sell perfume in Hollywood before the war.
His heart had been set on becoming a pilot,
but he had been washed out of cadet training “three hours before graduation.”
That was his story.
It rankled that his younger brother, who was twenty-one, two years Leo’s junior,
was an ace Marine fighter pilot in the Pacific while Leo became a “venereal gunner.”
He was not a good gunner (this we had in common),
and up in the air I saw him paralyzed with fear (this too we had in common).
Leo and I had never become close,
perhaps because we each knew the other to be a coward who resented being found out.
That’s why he was wary of me.
He credited me with an insight that always sat in judgment on his weaknesses.
Also, he mistook my aloofness for snobbery.
He did not like riddles.
But I wanted him to like me.
He was, after all, my brother. (p 30)

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The images below are of the 1951 Pocket Books edition of Face of A Hero, featuring cover art by Al Schmidt. 


Would Andy laugh at me if I told him I was in this war because I wanted to keep America free?
I wanted to tell him I was in it not only because I was against Hitler;
I was also for something.
I was convinced that after we won it, life would be better for all.
People would get along better;
not only Missourians and Illinoisians,
but Italians and Americans too…
But how do you tell these things to a frightened man, a man facing death?
I was afraid Andy would laugh at me.
Americans had an ingrained suspicion of words, any words smacking of patriotism.

Andy sat silent for a while, contemplating the pebbles on the tent floor.
“Oh, I’ll fly my missions,” he said.
“I’m no better or no worse than anybody else.
I certainly wouldn’t pull a stunt like Bowles pulled yesterday,
shooting off his toe and claiming it was an accident.
I wouldn’t do a thing like that, nobody in our crew would.”
He regarded me searchingly to see whether I believed him.
He got up and went to sit on his cot.
“Oh, I don’t know,” the navigator sighed.
“It’s all mixed up in my mind.
In one way I feel I’m a sucker for being in this.
In another way I feel useless.
I’m supposed to be a navigator.
The army spent a fortune to train me.
But do I navigate?
I’m just a passenger in the ship, while the lead navigator does all the work.
You men could fly without me.
It wouldn’t be so bad if I had a gun to fire.
You don’t know what it means to be shot at and not shoot back.
You’re helpless, useless.
You go crazy.
If I could only keep busy in the air –
maybe I wouldn’t have the time to worry so much about death…”
He slapped his thighs savagely
and stood up and walked to the cone-shaped entrance of the tent.
“I don’t know what to think.
I’ve never been so mixed up and so scared in my life…”  (109-110)

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The image below – a portrait of Louis Falstein posing against a “backdrop” of a B-24 Liberator’s fuselage – was scanned from a photographic print.  It’s unknown if this picture was taken during his training in the continental United States, or later, at the 450th Bomb Group’s base at Manduria, Italy. 

Most likely, the former. 

Notably, this is the same image of Louis Falstein that appeared (albeit highly cropped!) as the cover of the 1999 Steerforth Press edition of Face of a Hero.  The novel’s re-publication that year generated much commentary concerning the book’s similarities to – and striking differences from – Joseph Heller’s stunningly over-rated embodiment of literary mediocrity (and, ironic commercial and cultural success) otherwise known as “Catch-22.

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The portrait below, showing Lou in more peaceful times, appears on the jacket of the first edition of Face of A Hero.

The Worlds of A.E. van Vogt – 1974 (Bart Forbes)

Contents

The Replicators – Galaxy Science Fiction, 1964

The First Martian – 1939

The Purpose – Astounding Science Fiction, 1945

The Earth Killers 1951 Ziff-Davis

The Cataaaaa – 1937

Automation – Other Worlds, 1950

Itself! – 1963

Process – Mercury Publications, 1950

Not The First – Astounding Science Fiction, 1941

Fulfillment – 1956

Ship of Darkness – Ziff-Davis, 1961

The Ultra Man – Galaxy Science Fiction, 1966

The Storm – 1943

The Expendables – 1963

The Reflected Men – 1971

The Book of van Vogt – 1972 (Karel Thole)

Contents

The Timed Clock

The Confession

The Rat and the Snake – Witchcraft & Sorcery # 5, January-February, 1971

The Barbarian – Astounding Science Fiction, December, 1947

Ersatz Eternal

The Sound of Wild Laughter

Lost: Fifty Suns