The Best From Fantasy and Science Fiction – Fifth Series, Edited by Anthony Boucher – 1954 (1955, 1956) [Artist unknown!] [Updated post…]

I purchased this one – in rather bedraggled shape – some time (a few decades) ago, at a small-town flea market, probably my first acquisition in my collection of Ace’s The Best From Fantasy and Science Fiction series.  In a perhaps symbolic way, it featured in the creation of this – one-of-my-first- blog posts, which was created in June of 2017, a near-infinity ago in Internet terms.  

I’ve now acquired a copy in vastly better condition than my original, which displays the cover art to much better and intact effect than my “original”, which is visible at the very “bottom” of this post.  Interestingly, the artist is unknown: The cover illustration bears neither signature nor initials, and the Internet Speculative Fiction Database is absent of information about the man’s (or woman’s) identity.  While the composition has elements of the works of both Richard Powers and Edmund Emshwiller, the latter having created five mid-50s covers for this Ace series, it’s not actually the work of either.  

On a more important level, what about the book’s content?

Though I have read every story in this anthology, the writings that specifically stand out in memory are those by Zenna Henderson (a wonderfully skilled writer; I’ve never read a story by her that I’ve not appreciated and been moved by), Shirley Jackson (author of “The Lottery” … had to read that one as a freshman in college, though I’d read it previously!), and inevitably, Walter M. Miller, Jr., for “A Canticle for Leibowitz”.

So, enjoy this (qualifiedly) “new arrival”!

 So, what’s in the book?

You’re Another, by Damon Knight (June, 1955)

The Earth of Majesty, by Arthur C. Clarke (July, 1955)

Birds Can’t Count, by Mildred Clingerman (February, 1955)

The Golem, by Avram Davidson (March, 1955)

Pottage, by Zenna Henderson (September, 1955)

The Vanishing American, by Charles Beaumont (August, 1955)

Created He Them, by Alison Eleanor Jones (June, 1955)

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Four Vignettes

Too Far, by Frederic Brown (September, 1955)

A Matter of Energy, by James Blish (…from this volume…)

Nelithu, by Anthony Boucher (August, 1955)

Dreamworld, by Isaac Asimov (November, 1955)

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One Ordinary Day, With Peanuts, by Shirley Jackson (January, 1955)

The Short Ones, by Raymond E. Banks (March, 1955)

The Last Prophet, by Mildred Clingerman (August, 1955)

Botany Bay, by P.M. Hubbard (February, 1955)

A Canticle for Leibowitz, by Walter M. Miller, Jr. (April, 1955)

Lament by a Maker, by L. Sprague de Camp (January, 1955)

Pattern For Survival, by Richard Matheson (May, 1955)

The Singing Bell, by Isaac Asimov (January, 1955)

The Last Word, by Chad Oliver and Charles Beaumont (April, 1955)

Simple, simple rear cover…

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My “original” of 2017…

A. Reference.

The Best From Fantasy and Science Fiction, Fifth Series, at…

Internet Speculative Fiction Database

126 6/19/17

The Hand of Zei, by L. Sprague de Camp – 1963 (Astounding Science Fiction 1950-1951) [Edmund A. Emshwiller]

In space, they say, 
Lies The Hand of Zei.
A strange adventure,
Far, far away!

The Search For Zei is found this way

The Search for Zei, by L. Sprague de Camp – 1963 (Astounding Science Fiction, 1950-1951) [Edmund A. Emshwiller]

What can one say,
About The Search for Zei?
A colorful cover,
On display!

The Hand of Zei, not far away

World Without Men, by Charles Eric Maine (David McIlwain) – 1958 [Edmund A. Emshwiller]

British writer Charles Eric Maine (David McIlwain) authored at least sixteen novels and four screenplays, as well as detective thrillers under the pen names Richard Rayner and Robert Wade.  He may be best known for the dystopian 1958 Ace novel World Without Men, which features cover art by Edmund Emshwiller.  Regardless of one’s opinion about the novel’s literary merits, this has to be one of the most striking covers ever published by Ace, let alone among the very many works created by Ed Emshwiller.  His model for the startled red-irised lady was his wife Carol, who appearance was the template for the features of women in many of Emsh’s paintings.  

Purple Hair? – check!

(Green Hair? – check!)

Silver Lipstick? – check!

Bullet Style Artillery Shell Top? – check!

Jane Jetson style geometric flat-top collar? – check!

Below is Ed Emshwiller’s original painting.  The subtleties of shading and color are here much more obvious than in the cover as printed.  Particularly interesting are the eye-like red sphere at the upper right – shades of HAL 9000! – and, the antenna-like set of wires and rods set against a pink background, in the upper center.  I don’t recall where I actually found this image; it might have been at Heritage Auctions.  (Well, maybe.  It’s been a while.)  

Mrs. Jane Jetson

The book was republished in 1972 under the title Alph.  Dean Ellis’ cover art connotes the novel’s theme far more sedately, and perhaps more effectively, than that of Ace’s 1958 edition.  

For Further Digression, Distraction, and Diversion

World Without Men, at… 

Schlock Value (strongly con)

The Last Man on Earth (con)

GoodReads (semi – sort of – maybe a little – pro)

The Brussels Journal – review by the late Professor Thomas F. Bertonneau (strongly pro)

Alph, at…

… (once again) Schlock Value

Charles Eric Maine (David McIlwain), at…

Internet Speculative Fiction Database

Wikipedia

The Encyclopedia of Science Fiction

Andrew Darlington Blogspot (extensive discussion)

Clans of the Alphane Moon, by Philip K. Dick – 1964 [Edward I. Valigursky]

“Like most Terran males your sense of self-respect is bound up
in your wage-earning capabilities,
an area in which you have grave doubts as well as extreme guilts.”

______________________________

“A knock sounded on the door of the conapt.
It could not be the Ganymedean returning because a slime mold did not – could not – knock.
Rising, Chuck went to the door and opened it.

A Terran girl stood there.”

In a ‘pape one week old he found a more or less complete article;
he lit a cigarette and read carefully.

Psychologists were needed,
it was anticipated by the US Interplan Health & Welfare Service,
because the moon had originally been a hospital area,
a psychiatric care-center for Terran immigrants to the Alphane system
who had cracked under the abnormal,
excessive pressures of inter-system colonization. 
The Alphanes had left it alone, except for their traders

What was known of the moon’s current status came from these Alphane traders. 
According to them a civilization of sorts had arisen
during the decades in which the hospital had been severed from Terra’s authority. 
However, they could not evaluate it
because their knowledge of Terran mores was inadequate. 
In any case local commodities were produced,
traded; domestic industry existed, too,
and he wondered why the Terran government felt the necessity of meddling. 
He could imagine Mary there so well;
she was precisely the sort which TERPLAN, the international agency, would select-
People of Mary’s type would always succeed.

Going to the ancient picture window he stood for a time once more, gazing down. 
And then, stealthily, he felt rise up within him the familiar urge. 
The sense that it was pointless to go on;
suicide, whatever the law and the church said,
was for him the only real answer at this instant

He found a smaller side window that opened;
raising it, he listened to the buzz of a jet-hopper
as it landed on a rooftop on the far side of the street. 
Its sound died. 
He waited, and then he climbed part way over the edge of the window,
dangling above the traffic which moved below ….

From inside him a voice, but not his own, said.

“Please tell me your name. 
Regardless of whether you intend or do not intend to jump.”

Turning, Chuck saw a yellow Ganymedean slime mold
that had silently flowed tinder the door of the conapt
and was gathering itself into the heap of small globes which comprised its physical being.

“I rent the conapt across the halt,” the slime mold declared.

Chuck said, “Among Terrans it’s customary to knock.”

“I possess nothing to knock with. 
In any case I wished to enter before you – departed.”

“It’s my personal business whether I jump or not.”

“’No Terran is an island,’” the slime mold more or less quoted. 
“Welcome to the building which we who rent apts here have humorously dubbed
‘Discarded Arms Conapts.’  There are others here whom you should meet. 
Several Terrans – like yourself – plus a number of non-Ts of assorted physiognomy,
some which will repel you, some which no doubt will attract. 
I had planned to borrow a cup of yogurt culture from you,
but in view of your preoccupation it seems an Insulting request”

“I haven’t moved in anything.  As yet.” 
He swung his leg back over the sill,
stepped back into the room, away from the window. 
He was not surprised to see the Ganymedean slime mold;
a ghetto situation existed with non-Ts:
no matter how influential and highly-placed in their own societies
on Terra they were forced to inhabit substandard housing such as this.

“Could I carry a business card,” the slime mold said, “I would now present it to you. 
I am an importer of uncut gems, a dealer in secondhand gold,
and, under the right circumstances, a fanatic buyer of philatelic collections. 
As a matter of fact I have in my apt at the moment a choice collection of early US,
with special emphasis on mint Marks of four of the Columbus set;
would you -”  It broke off. 
“I see you would not. 
In any case the desire to destroy yourself has at least temporarily abated from your mind. 
That is good. 
In addition to my announced commercial – “

“Aren’t you required by law to curb your telepathic ability while on Terra?” Chuck said.

“Yes, but your situation seemed to be exceptional. 
Mr. Rittersdorf, I cannot personally employ you,
since I require no propagandistic services. 
But I have a number of contacts among the nine moons; given time – “

“No thanks,” Chuck said roughly “I just want to be left alone.”  
He had already endured enough assistance in job acquisition to last him a lifetime.

“But, on my part, quite unlike your wife, I have no ulterior motive.”  
The slime mold ebbed closer. 
“Like most Terran males your sense of self-respect is bound up in your wage-earning capabilities,
an area in which you have grave doubts as well as extreme guilts. 
I can do something for you … but it will take time. 
Presently I leave Terra and start back to my own moon. 
Suppose I pay you five hundred skins – US, of course – to come with me. 
Consider it a loan, if you want.”

“What would I do on Ganymede?”  
Irritably, Chuck said, “Don’t you believe me either?  
I have a job; one I consider adequate – I don’t want to leave it.”

“Subconsciously – “

“Don’t read my subconscious back to me. 
And get out of here and leave me alone.”  
He turned his back on the slime mold.

“I am afraid your suicidal drive will return – perhaps even before tonight”

“Let it.”

The slime mold said, “There is only one thing that can help you,
and my miserable job-offer is not it.”

“What is it then?”

“A woman to replace your wife.”

“Now you’re acting as a – “

“Not at all. 
This is neither physically base nor ethereal, it is simply practical. 
You must find a woman who can accept you, love you, as you are;
otherwise you’ll perish. 
Let me ponder this. 
And in the meantime, control yourself. 
Give me five hours.  And remain here.”  
The slime mold flowed slowly under the door,
through the crack and outside into the hall. 
Its thoughts dimmed. 
“As an importer, buyer and dealer I have many contacts with Terrans of all walks of life …”  
Then it was gone.

Shakily, Chuck lit a cigarette. 
And walked away – a long distance away – from the window,
to seat himself on the ancient Danish-style sofa.  And wait.

It was hard to know how to react to the slime mold’s charitable offer;
he was both angered and touched – and, in addition, puzzled. 
Could the slime mold actually help him?  It seemed impossible.

He waited one hour.

A knock sounded on the door of the conapt.
It could not be the Ganymedean returning because a slime mold did not – could not – knock. 
Rising, Chuck went to the door and opened it.

A Terran girl stood there.

______________________________

You Have Read?

Dick, Philip K., Clans of the Alphane Moon, Ace Books, Inc., New York, N.Y., 1964. 

Sutin, Lawrence, Divine Invasions – A Life of Philip K. Dick, Harmony Books, New York, N.Y., 1989

Daybreak – 2250 A.D. (Star Man’s Son), by Andre Norton – 1968 (1952) [Unknown Artist]

I’ve had this copy of Ace Book’s 1968 edition of Daybreak – 2250 A.D., original title Star Man’s Son – for a long, long (did I say long?) time:  If I recall correctly, I purchased it as a junior-high school student in the early 1970s, I think via a book sale by the Scholastic Book Service.  In my library since then, it’s held up remarkably well across the decades, basically because I haven’t “held” it too much, and then, only for a single mid-1970s reading. 

Which, I did enjoy. 

Which, I still remember.  

I suppose this “dates” me, but then again, given the nature of time, we all eventually become day-ted!

Rather than describe the book’s plot and characters, going over what’s already been reviewed in depth and detail by others, particularly furmagic (“My Tribute to Andre Norton: Star Man’s Son 2250 A.D.”) and Steve Zipp (“Heinlein & Norton”), here’s an anonymous review of the book that appeared in the Buffalo Evening News – a mainstream newspaper (remember those?!) – on November 15, 1952.  The review appeared in a section titled: “Reviews of New Books – Notes on Authors and Publishers – Variety of Books Recommended for Young Readers.”  (It was accessed via Fulton History.)

Star Man’s Son, by Andre Norton, illustrated by Nicholas Mordvinoff; Harcourt, Brace, 248 pp., $2.75 – this extraordinary story will probably have a strong appeal for boys and girls who read science-fiction.  Andre Norton sets it in the year 2250 A.D. – 250 years after our civilization has been destroyed by atomic warfare.  However, there are still men on earth.  The Star Men, who live high in the mountains; the Plainsmen, who are roving tribes; and the men from the South who have been driven from their homes by volcanoes and earthquakes.  Then there are the Beast Things – horrible creatures who are the result of atomic radiation.  Fors, the hero, is of the Star Men, but he is an outcast because his mother was of the Plainsmen.  Seeking to redeem himself, he goes on a long quest to the ruined cities in search of knowledge.  An unusual story, it is illustrated with vigorous original drawings by the winners of the Caldecott Medal for 1951.

So, the cover of the Ace edition, originally appeared with this unfortunately -thus-far-anonymous-created illustration in 1961:  Hero Fors and his hunting cat Luna explore the remains of a destroyed North American metropolis, two centuries after an atomic war.

What I found particularly memorable about Norton’s story, more even than the nominal adventure of Fors and Luna, was how time – deep time, even more than geographic location; even more than place (well, the tale by all evidence occurs in North America) – provides the story’s the setting.  In this, I wonder about the degree to which Stephen Vincent’s Benét’s By the Waters of Babylon was the impetus, influence, or inspiration for Norton’s thinking.  In any event, though not addressed by Norton and not really central to the story – which is a partially a “coming of age” tale – even as I read the novel (…yes, I still remember thinking this!…) I couldn’t help but wonder about why nuclear war occurred; of what happened to humanity’s accumulated wealth of knowledge; of what became of man’s technology, in the centuries intervening between our time, and, the year 2250.  Perhaps the fact that Norton left these questions unanswered increased her novel’s appeal and impact, for the very absence of such information left room for flights of the reader’s own imagination.

____________________

The cover art of the book’s first – August, 1952 – edition was by artist Nicolas Mordvinoff, known primarily for his illustrations for children’s literature, whose extremely productive life tragically ended all too early in 1973.  In his composition of Fors and Luna overlooking the ruins of a destroyed metropolis, the figure of Fors, in terms of posture and proportion, seems to have been inspired by Michaelangelo’s David.  (This image is from a catalog record by bookseller L.W. Currey, Inc.)  

____________________

Here’s the front panel of book’s cover, embossed with Mordvinoff’s simplified version of Fors and Luna.  (This image is from an AbeBooks catalog entry by bookseller Southwestern Arts.) 

____________________

Fors and Luna, as seen on the book’s title page.  

____________________

The cover of the British edition, published by Staples Press in 1953, features art by R. Dulford.  Dulford’s portrayal of Fors is similar to that of Mordvinoff, but it’s far less stylized, and, absent of Luna.  Note also that while Mordvinoff features a destroyed and forlorn metropolis in the background, Dulford instead depicts what seems to be a small city, with a ruined church prominently displayed. 

(This image, found via an Oogle image search, was featured in a catalog record – no longer available! – from a now-and-forever-anonymous bookseller at AbeBooks.)

For your further enlightenment, amusement, and distraction…

Andre Norton

…at Wikipedia

…at Internet Speculative Fiction Database

…at Andre-Norton.com (“Articles and Reviews about Andre Norton ~ 1965 thru 1969“)

…at furmagic (“My Tribute to Andre Norton: Star Man’s Son 2250 A.D.”)

…at Steve Zipp (“Heinlein & Norton”)

…at FindAGrave

Daybreak – 2250 A.D. (Star Man’s Son)

…at Internet Speculative Fiction Database

Illustrator Nicolas Mordvinoff

…at modernism.com

…at BooksTellYouWhy

…at The New York Times (Obituary)

World’s Best Science Fiction 1967 – Donald A. Wollheim and Terry Carr – 1967 [Jack Gaughan] [Revised post…]

This post is pretty antiquated – by internet standards, that is! – having first appeared in July of 2017 (gadzooks!), and now includes Jack Gaughan’s title page interior art.

This anthology would be reprinted under Ace Books catalog number 91355, which also featured cover art by Jack Gaughan.  Note the great difference in style between Gaughan’s two compositions: This image is pretty straightforward and representational, while the wrap-around cover art of the reprint is much more symbolic and hard-to-define, reminiscent of the work of Richard Powers.

__________

Contents

We Can Remember It For You Wholesale, by Philip K. Dick, from The Magazine of Fantasy and Science Fiction

Light of Other Days, by Bob Shaw, from Analog Science Fiction – Science Fact

The Keys to December, by Roger Zelazny, from New Worlds SF

Nine Hundred Grandmothers, by R.A. Lafferty, from Galaxy Science Fiction

Bircher, by A.A. Walde, from If

Behold The Man, by Michael Moorcock, from New Worlds SF

Bumberboom, by Avram Davidson, from The Magazine of Fantasy and Science Fiction

Day Million, by Frederik Pohl, from Rogue Magazine

The Wings of A Bat, by Paul Ash, from Analog Science Fiction – Science Fact

The Man From When, by Dennis Plachta, from If

Amen and Out, by Brian W. Aldiss, from New Worlds SF

For a Breath I Tarry, by Roger Zelazny, from New Worlds SF

7/7/17 – 192

The Best From Fantasy and Science Fiction – Twelfth Series, Edited by Avram Davidson – 1961 (1962, 1963) [Unknown Artist] [Revised post…]

The cover of the Twelfth Series anthology of The Best From (The Magazine of) Fantasy & Science Fiction is certainly “science-fictiony” in terms of a rocket, an alien landscape, and a portrait of a pointy-eared, red-eyed generic “alien”, but is otherwise rather bland.  The name of the artist – perhaps someone in Ace’s art department? – is unknown.    

Jack Gaughan’s interior, title-page illustration is much more compelling.  

(The main image originally at this post – at bottom – was of a sticker-damaged copy of the book, which just demanded the replacement shown below!)

Test, by Theodore L. Thomas

Please Stand By, by Ron Goulart

Who’s In Charge Here, by James Blish

Three For The Stars, by Joseph Dickinson

When Lilacs Last in The Dooryard Bloomed, by Vance Aandahl

Landscape With Sphinxes, by Karen Anderson

My Dear Emily, by Joanna Russ

The Gumdrop King, by Will Stanton

The Golden Horn, by Edgar Pangborn

The Singular Events Which Occurred in the Hovel on The Alley Off of Eye Street, by Avram Davidson

A Kind of Artistry, by Brian W. Aldiss

Two’s A Crowd, by Sasha Gilien

The Man Without A Planet, by Kate Wilhelm

The Garden of Time, by J.G. Ballard

Hop-Friend, by Terry Carr

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June 19, 2017 – 139

The Best From Fantasy and Science Fiction – Ninth Series, Edited by Robert P. Mills – 1958 (1959) [Edmund A. Emshwiller] [Revised post…]

Great cover art by Emsh (Edmund Emshwiller) from 1959: Colorful, directly representational, complex, and dynamic.  Not tied to any specific story in the anthology, the art seems (?) to imply a kind of progression: from chimpanzee, to man-in-gray-flannel-suit (Don Draper in an off moment?), to an astronaut, to a kind of fearsome, glowing, lightningy, greenish-blue energy-dragon looking thing.  

The astronaut especially stands out: In his left hand he’s carrying some kind of weapon, as if arrayed for battle, or, an ambiguously sciencey probe.  If you look closely at the blue and red buttoned-box on his chest, you’ll notice the letters EMSH – as individual letters on the box – which represents Emshwiller’s logo.  This was typical of Emshwiller, for he cleverly and unobtrusively incorporated this abbreviation into all his compositions, in lieu of an actual signature at bottom.    

Like other Ace science-fiction anthologies, the title page includes a composition – this one by Jack Gaughan.

(The cover scan in this post is an update from the original, which appeared in June of 2017 and featured a rather worn and creased cover.  You can see the original image at the bottom of the post.)    

Flowers for Algernon, by Daniel Keyes

A Different Purpose, by Kim Bennett

Ralph Wollstonecraft Hedge: A Memoir, by Ron Goulart

“All You Zombies- ”, by Robert A. Heinlein

Casey Agonisties, by R.M. McKenna

Eastward Ho!, by William Tenn

Soul Mate, by Lee Sutton

What Rough Beast, by Damon Knight

Far From Home, by Walter S. Tevis

Invasion of the Planet of Love, by George P. Elliott

Dagon, by Avram Davidson

Fact, by Winston P. Sanders

No Matter Where You Go, by Joel Townsley Rogers

The Willow Tree, by Jane Rice

The Pi Man, by Alfred Bester

The Man Who Lost the Sea, by Theodore Sturgeon

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June 19, 2017 – 134

World’s Best Science Fiction – Third Series – Edited by Donald A. Wollheim and Terry Carr – 1967 [Jack Gaughan]

This is a reprint of Ace Books 1967 edition, which was released under Ace Books catalog number A-10, and also featured cover art by Jack Gaughan.  It’s hard to discern what the cover art is actually portraying, other than the three diminutive rockets exiting the scene at the lower right.  Then again, perhaps it’s intentionally ambiguous!

Contents

We Can Remember It For You Wholesale, by Philip K. Dick, from The Magazine of Fantasy and Science Fiction

Light of Other Days, by Bob Shaw, from Analog Science Fiction – Science Fact

The Keys to December, by Roger Zelazny, from New Worlds SF

Nine Hundred Grandmothers, by R.A. Lafferty, from Galaxy Science Fiction

Bircher, by A.A. Walde, from If

Behold The Man, by Michael Moorcock, from New Worlds SF

Bumberboom, by Avram Davidson, from The Magazine of Fantasy and Science Fiction

Day Million, by Frederik Pohl, from Rogue Magazine

The Wings of A Bat, by Paul Ash, from Analog Science Fiction – Science Fact

The Man From When, by Dennis Plachta, from If

Amen and Out, by Brian W. Aldiss, from New Worlds SF

For a Breath I Tarry, by Roger Zelazny, from New Worlds SF