Arch of Triumph, by Erich Maria Remarque – February, 1959 (1945) [Unknown artist…]

Though probably best known for his 1929 novel All Quiet on the Western Front, Erich Maria Remarque’s literary oeuvre comprises (well, going by Wikipedia!) fourteen other novels, all written between 1920 and 1971.  One of these is Arch of Triumph, first published in 1945 as Arc de Triomphe. 

Unsurprisingly – well, given the power of Remarque’s writing, and his genuine success as a novelistArch of Triumph has been made into two feature films, released in 1948 and 1984.

The 1948 version starred Ingrid Bergman and Charles Boyer in the title roles of Dr. Ravic and Jean Madou, while in the 1985 remake the title roles were reprised by Anthony Hopkins and Lesley Ann-Down, with Donald Pleasance in the role of the chief (only?) villain, van Haake, a, “…a German Gestapo man who tortured Ravic and committed his beloved girl Sibylla to suicide.  Killed by Ravic at the end of the novel.”  The latter is quite ironic, given the fact that as a member of the Royal Air Force, Donald Pleasance flew sixty-one bombing missions over Germany as a wireless operator in Lancaster heavy bombers, and was a prisoner of war at Stalag Luft I!

You can view the trailer (from Media Graveyard) for the 1948 version here…

…and, watch the trailer (from Movieman Trailers) for the 1985 production here…

Interested in viewing the full production?  You can view the 1985 film at Archive.org, here.

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Thus for film.  Now, back to print…!

Here’s Signet’s 1959 paperback edition of the novel.  The themes of the cover art are direct and immediate:  The Arc de Triomphe stands in the background, while a lady both sultry and forlorn (Jean Madou?), casting her gaze upon something, or someone, in the distance.  Unfortunately, I’ve not been able to identify the artist on this one!

A quote from the novel:

Ravic walked on. 
The large hall with its staircase came steadily toward him. 
And suddenly, high above everything, rose the Nike of Samothrace. 

It was a long time since he had seen her. 
The last time it had been on a gray day. 
The marble had looked dull and in the dirty winter light of the museum
the princess of victory had seemed hesitant and freezing. 
But now shed stood high above the staircase on the bow of the marble ship,
illuminated by spotlights, gleaming,
her wings wide spread,
her garment pressed tight by the wind against her striding body,
bright and ready for flight. 
Behind her the wine-colored Sea of Salamis seemed to roar,
and the sky was dark with the velvet of expectation.

She knew nothing of morals. 
She knew nothing of problems. 
She did not know the storms and dark ambushes of the blood. 
She knew the victory and the defeat, and the two were almost the same. 
She was not temptation; she was flight. 
She was not enticement; she was unconcernedness. 
She held no secret;
and yet she was more exciting than Venus, who by hiding her sex emphasized it. 
She was akin to birds and ships, to the wind, to the waves, and the horizon. 
She had no country.

She had no country, Ravic thought.  But she did not need one either. 
She was at home on all ships. 
She was at home wherever there was courage and conflict and even defeat if it was without despair.  She was not only the goddess of victory,
she was also the goddess of all adventures and the goddess of refugees –
so long as they did not give up.  (244)

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LOST LOVERS

A brilliant refugee doctor and a beautiful headstrong actress find love in Paris, during the tense and tragic days before the outbreak of World War II, in this great bestseller that became an important motion picture.

A tempestuous, romantic picture of a touching and tormenting love affair, Arch of Triumph “will surely go down as one of the truly memorable works of fiction of our time.” – Philadelphia Record

“A vivid picture of a crisis in history, a gallery of brilliant portraits of of individuals, a study of human motives – a work of art that would have added to the fame of Balzac.” – Cleveland Plain Dealer

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Here’s Remarque’s portrait (and caption) from the novel’s rear cover…

ERICH MARIA REMARQUE was born in Germany in 1898, fought in World War I and was wounded five times.  All Quiet on the Western Front was his first and most famous novel.  He was driven from Nazi Germany to France by the Nazis, and in 1939 came to America.  Arch of Triumph, published originally by Appleton-Century-Crofts, Inc., sold over 700,000 copies in its original trade and booklcub editions. 

….while this image (Bundesarchiv Bild 183-R05148, Westfront, deutscher Soldat) supposedly shows Remarque as a soldier in the German Army during World War I.

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A fascinating aspect of Arch of Triumph (well, Signet’s paperback edition, that is!) is not necessarily the novel itself, but instead, what is physically within the book: A perforated, tear-out subscription card for Doubleday’s One Dollar Book Club (mailing location, Garden City, New York), which provides a fascinating window upon popular literature, public tastes, and (*ahem*) book prices of the late 1950s: “Choose any 4 for 99 ¢.” (? – !!!)

Rather than simply present the subscription card as scanned images, I thought the “flavor” of the advertising could be more adequately conveyed as full text. 

Which, appears below… 

Choose Any 4
of these hard-bound best-sellers for 99¢

when you join the Dollar Book Club and
agree to take as few as 6 best-selling novels
out of 24 to be offered within the year

AROUND THE WORLD IN 2000 PICTURES.
Sail the Seven Seas – visit Rome, Paris, London, Hong Kong, Mexico, Peru … see the wonders of 84 lands in this huge 832-page volume of vivid photos and informative reading.

GARDEN IDEAS AND PROJECTS.
Brand new year-round handbook that tells how to enhance your “backyard living room”.  Sections on building garden furniture, walks, trellises, terraces, designing pools and rock gardens, etc.  Illustrated.

GRIMM’S FAIRY TALES.
Famed children’s classic in a superb new edition!  32 never-to-be forgotten stories – Tom Thumb, Snow White, Hansel & Gretel, Sleeping Beauty, Rumpelstiltskin, etc.  Illustrated.

HAMMOND’S FAMILY REFERENCE WORLD ATLAS.
Brand new!  Big 256-page Volume covers U.S., Canada, all foreign lands.  190 pages of the latest color maps!  With profusely illustrated world geography, historical maps, etc.

HEALTH SET – 2 volumes.
Handy Home Medical Adviser by Dr. Morris Fishbein; includes latest on allergies, mental health, new drugs, etc.  Plus Stay Slim For Life – new book that tells how to eat and reduce.  620 pages.  Illustrated.

What Happens When a Young Psychiatrist Falls in Love with His Patient?
Dr. Jim Corwin’s love for beautiful Lynn Thorndike forces him into a desperate medical gamble which risks not only their future together but also his professional standing.  Frank G. Slaughter’s DAYBREAK is new, exciting.

A Pair of Golden Slippers for a Night of Love!
A dandy gift of golden slippers to a tantalizing café girl in exchange for her favors – followed by a shocking murder – looses a storm of passions in a Louisiana town.  VICTORINE is Frances Parkinson Keyes’ most exciting hit since “Dinner at Antoine’s.”

ICE PALACEEdna Ferber tops “Giant” in this new best-selling novel about a beautiful young girl whose quest for love is caught up in a struggle for power in her native Alaska.  Timely different!

LADIES’ HOME JOURNAL BOOK OF INTERIOR DECORATION.
New edition!  Big, lavish volume contains 293 illustrations – 144 in full color!  Crammed with exciting new ideas on fabrics, lighting, color, furniture, table settings, accessories, etc.

MODERN FAMILY COOK BOOK – Meta Given.
1,250 delicious recipes, 250 tempting menus, 640 pages.  Latest edition of the most useful cook book ever published.  Helps plan meals, guides shopping.  New freezing section.  Illustrated.

THE OUTLINE OF HISTORY – H.G. Wells.
2 volumes.  1,024 pages, over 200 maps and pictures.  The whole dramatic story of man from earliest times to our own years.  One of the most widely acclaimed works of the twentieth century!

THRONDIKE-BARNHART COMPREHENSIVE DICTIONARY.
2 volumes.  Latest edition – 80,000 entries, 700 illustrations, 896 pages!  Sections on letter writing, grammar, punctuation, pronunciation, etc.  Hundreds of new words.

Send No Money – Mail Attached Card

MAIL THIS CARD TODAY – NO STAMP REQUIRED

Doubleday One Dollar Book Club, Dept. PB-32, Garden City, N.Y.

Enroll me as a Dollar Book Club member.  Send me at once as my gift books and first selection the 4 books checked at the right and bill me only 99 ¢ FOR ALL 4, plus a small shipping charge.  As a member, I will be offered best-selling novels at the members’ price of only $1 each – a few extra-volume selections somewhat higher – the same full-size complete, hard-bound novels that cost up to $3.95 each in publishers’ editions.  (Members have received books by such authors as Thomas Costain, Daphne du Maurier, Frank Yerby and other popular best-selling novelists.)  An exciting new bonus plan entitles me to other big savings too.

Also send me my first issue of The Bulletin, describing new forthcoming one-dollar book selections and other bargains for members.  I may notify you in advance if I do not wish the following month’s selections.  I do not have to accept a book every month – only six a year.  I pay nothing except $1 for each selection I accept (plus a small shipping charge) unless I choose an extra-value selection at a somewhat higher price.

NO-RISK GUARANTEE
:  If not delighted, return all books within 7 days, and your membership will be cancelled. 

TO RESIDENTS OF CANADA:  Selection price #1.10 plus shipping.  Enclose this card in an envelope and mail to Doubleday Book Club, 105 Bond St., Toronto 2.  Offer good in U.S. and Can. only.

For Further Thought

Eric Maria Remarque, at…

Wikipedia

Internet Movie Database

Good Reads

Holocaust Encyclopedia

Nov. 20, 2017 135

The Road Back, by Erich Maria Remarque – February, 1959 (1945) [Unknown artist…]

“So, that is love,” thought I dumbly, despairingly, as we picked up our things;
“so that is the love my books at home were so full of
– of which I had expected so much in the vague dreams of my youth!” 

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The Road Back is a book I’ve read a b o u t, but not yet actually read, having learned about it at ChicagoBoyz.  There, the book is discussed in the context of literature of First World War in general, and, the war’s impact and legacy, in intellectual and cultural terms, in particular, on the generation of soldiers who fought in it.  Much more importantly – with relevance for the world of 2022; our world – is the way in which the war altered ways of understanding, living in, and acting upon (and catastrophically against?) the world, for veterans of the conflict and especially those who came after.  

Like Signet Books’ 1959 edition of Arch of Triumph, I’ve no idea who the cover artist was for this 1959 Avon paperback.  

Akin to Remarque’s to Arch of Triumph, The Road Back was transformed to film in 1937.  The full movie, at Sir Jänskä’s YouTube channel, can be viewed here…

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This photo, (Bundesarchiv Bild 183-R05148, Westfront, deutscher Soldat) supposedly shows Remarque as a soldier in the German Army during World War I.  He was driven from Nazi Germany to France, and in 1939 came to America. 

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The Old Man decides to humor us at all costs. 
We are too many, and Willy stands there too formidably trumpeting before him. 
And who can say what these undisciplined fellows may not be doing next;
they may even produce bombs from their pockets. 
He beats the air with his arms as an archangel his wings. 
But no on listens to him.

Then suddenly comes a lull in the tumult. 
Ludwig Breyer has stepped out to the front. 
There is silence. 
“Mr. Principal,” says Ludwig in a clear voice, “you have seen the war after your fashion –
with flying banners, martial music, and with glamour. 
But you saw it only to the railway station from which we set off. 
We do not mean to blame you. 
We, too, thought as you did. 
But we have seen the other side since then,
and against that the heroics of 1914 soon wilted to nothing. 
Yet we went through with it –
we went through with it because here was something deeper that held us together,
something that only showed up out there,
a responsibility perhaps,
but at any rate something of which you know nothing,
and about which there can be no speeches.”

Ludwig pauses a moment, gazing vacantly ahead. 
He passes his hand over his forehead and continues. 
“We have not come to ask a reckoning –
that would be foolish; nobody knew then what was coming.  – 
But we do require that you shall not again try to prescribe what we shall think of these things. 
We went out full of enthusiasm, the name of the “Fatherland” on our lips –
and we have returned in silence, but with the thing, the Fatherland, in our hearts. 
And now we ask you to be silent too. 
Have done with fine phrases. 
They are not fitting.
 Nor are they fitting to our dead comrades. 
We saw them die. 
And the memory of it is still too near that we can abide to hear them talked of as you are talking. 
They died for more than that.”

Now everywhere it is quiet. 
The Principal has his hands clasped together. 
“But, Breyer,” he says gently, “I – I did not mean to – “

Ludwig has done.

After a while the Principal continues. 
“But tell me then, what is it that you do want?”

We look at one another. 
What do we want? 
Yes, if it were so easy a thing to say in a sentence. 
A vague, urgent sense of it we have – but for words? 
We have no words for it, yet. 
But perhaps later we shall have.  (97-98)

_________________________________________

At last came my turn. 
The man who had been before me stumbled out and I stepped into the room. 
It was low and dark,
and reeked so of carbolic acid and sweat
that I thought it strange to see the branches of a lime tree just outside the window,
and the sun and wind playing in the fresh, green leaves
 – so withered and used up did everything in the room appear. 
There was a dish with pink water on a chair
 and in the corner a sort of camp-bed on which was spread a torn sheet. 
The woman was fat and had on a short, transparent chemise. 
She did not look at me at all, but straightway lay down. 
Only when I still did not come, did she look up impatiently;
then a flicker of comprehension showed in her spongy face. 
She perceived that I was still quite young.

I simply could not; horror seized me and a chocking nausea. 
The woman made a few gestures to rouse me, gross, repulsive gestures;
she tried to pull me to her and even smiled as she did so,
sweetly and coyly,
that I should have compassion on her
 – what was she, after all, but a poor, army mattress,
that must bed twenty and more fellows every day?
– but I laid down only the money beside her and went out hastily and down the stairs.

Jupp gave me a wink.  “Well, how was it?”

“So, so”, I answered like an old hand, and we turned to go. 
But no, we must go first to the A.M.C corporal again and make water under his eyes. 
Then we received a further injection of protargol.

“So, that is love,” thought I dumbly, despairingly, as we picked up our things;
“so that is the love my books at home were so full of
– of which I had expected so much in the vague dreams of my youth!” 
I rolled up my great-coat and packed my ground-sheet,
I received my ammunition and we marched out. 
I was silent and sorrowful, and I thought upon it:
how now nothing was left me of those high-flying dreams of life and of love,
but a rifle,
a fat whore
and the dull rumble out there on the sky-line whither we were now slowly marching. 
Then came darkness, and the trenches and death.  –
Franz Wagner fell that night, and we lost besides twenty-three men.  (157-158)

For Further Thought

World War One, and the Transformation of Civilization, With Relevance for Our Times, at Chicago Boyz

Germany’s Descent Into Naziism

… Book Review: The Road Back, by Erich Maria Remarque

… Some World War I Book Recommendations

The Road Back, at…

Wikipedia

… GoodReads

Internet Movie Database (1937 film)

Eric Maria Remarque, at…

Wikipedia

Internet Movie Database

Good Reads

Holocaust Encyclopedia

 

Five Science Fiction Novels, Compiled by Martin Greenberg – 1952 [Jacket Design by Frank Kelly Freas, Book Design by David Kyle]

Sometimes, you get lucky.  

Case in point, Martin Greenberg’s 1952 anthology Five Science Fiction Novels, one of the 86 titles published by Gnome Press between 1948 and 1961, which I had the good fortune of discovering at a used bookstore just a few years ago.  Alas, the cover of my copy is flaky, fragged, and frayed around the edges.  But, Frank Kelly Freas’ simple yet effective cover design, featuring five rockets in formation, is still quite intact. 

Here’s a closer view…

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The same motif – perhaps inspired by images of fleets of Army Air Force Flying Fortress and Liberator bombers during the Second World War – is not difficult to find as an element of other illustrations, such as Ric Binkley’s composition for C.L. Moore’s 1953 Shambleau and Others, also published by Gnome Press. 

XXXXX ______________________________

The book is comprised of five stories, all published from the late 1930s through the mid-1940s; four drawn from Astounding, and another from Astounding’s sister publication, Unknown.  They are:

But Without Horns“, by Norvell W. Page, from Unknown Fantasy Fiction, June, 1940

Destiny Times Three“, by Fritz Leiber, Jr., from Astounding Science Fiction, March, 1945 (Later published as Galaxy Science Fiction Novel #28)

Crisis in Utopia“, by Norman L. Knight, from Astounding Science Fiction, July, 1940

The Chronicler“, by A.E. van Vogt (variant of “Siege of the Unseen”), from Astounding Science Fiction, October and November, 1946

The Crucible of Power“, by Jack Williamson, from Astounding Science Fiction, February, 1939

Having read all five stories, by far the best – in terms of literary quality and originality – is Fritz Leiber’s “Destiny Times Three”.  This is a truly wonderful tale of the intersection between and origin of parallel universes, and, the dramatic and not necessarily benign (!) interaction between not-so-identical versions of the same protagonist from these universes.  The other four stories are not at all mediocre; not at all bad; not at all lacking … by any means, but they’re much more straightforward in concept, and don’t manifest the same level of “What-happens-next-ness?”, as Leiber’s story.    

______________________________

The book’s rear cover features a list of contemporary Gnome Press titles, all selling for between $2.50 and $3.95.  (“Alas!… A time machine, a time machine, my book collecting kingdom for a time machine!”)

Here are contemporary – August, 2022, that is! – prices for a few of these books, via ABE Books:

Cosmic Engineers: $100 to $225
The Fairy Chessmen and Tomorrow and Tomorrow: $250
Foundation: $4,500
I, Robot: $15,000
Renaissance: $45 to $100
The Sword of Conan: $110 to $850

And, the rear cover bears Gnome Press’s book-propelled-astronaut emblem, designed by Edd Cartier.  You can view a more elaborate version of this little fellow below…

For Your Further Distraction!…

Five Science Fiction Novels, at…

GoodReads

The Great Gnome Press Science Fiction Odyssey

John W. Knott, Jr., Bookseller

Martin Greenberg, at…

… Internet Speculative Fiction Database

The Encyclopedia of Science Fiction

… Wikipedia

David A. Kyle, at…

… Internet Speculative Fiction Database

… Wikipedia

Gnome Press, at…

Classics of Science Fiction (“Remembering Fantasy Press, Arkham House, Prime Press, Gnome Press, Shasta Publishers, and Others“)

Kirkus Reviews (“The Meteoric Rise and Fall of Gnome Press“)

GnomePressMe (“For Gnome Press Collectors“)

Flying Cards and Food Pills (“Gnome Press“)

Hydraxia Books (“A Complete Collection of Gnome Press Publications“)

… Wikipedia

“The Chronicler”, by A.E. van Vogt, at…

MPorcius Fiction log

Roger Russell

“Destiny Times Three”, by Fritz Leiber, at…

Wikipedia (not much!)

Archive.org

“The Crucible of Power”, by Jack Williamson, at…

GoodReads

“But Without Horns,” by Norvell W. Page, at…

GoodReads

ThePulp.Net

“Crisis in Utopia”, by Norman L. Knight, at…

Vacation in the Golden Age

Rocket Stories, Featuring “The Quest of Quaa”, by H.A. DeRosso, April, 1953 [Edmund A. Emshwiller]

One of the innumerable science-fiction pulps that came and went during the 1950s, Rocket Stories’ 1953 run, published by Space Publications, Inc., and edited by Wade Kaempfert, comprised only three issues:  April (below), July, and September.  The magazine was part of the intriguing 1953 SF&F Magazine Boom, as described by James W. Harris at Classics of Science Fiction.  

This first issue’s cover is by Edmund Emshwiller and has a very perfunctory “feel”, given the skill, originality, and especially the detail characteristic of his work, though there’s an element of humor in the idea of a self-adjusting-robot.  Emshwiller’s nom du pinceau “EMSH” is visible on the blue cylinder at center left.

Some Other Places to Visit…

Rocket Stories, at…

Internet Speculative Fiction Database (incomplete issue grid)

Comic Book + (on the other hand, complete issue grid!)

 

Infinity Science Fiction, November, 1955, featuring “The Star”, by Arthur C. Clarke [Robert V. Engle]

Infinity Science Fiction’s opening issue features cover art depicting a scene that – precisely because it’s at once disturbing and fascinating – makes one do a double-take and wonder, “What is going on here?  What’s the story behind a women marrying (well, she’s wearing a veil, so it must be so!) a simulacrum of a man formed of nothing but his circulatory system?  We can’t see her face, but her posture betrays neither reluctance or hesitation.  Otherwise, Robert Engle’s cover, in terms of colors and shading and light and dark, is quite pleasing.  A yellow horizon rises to soft green; the soft green to grayish-blue; the grayish-blue to dark blue; the whole, illuminated from the horizon.

While one might think that Robert Engle chose (created) this subject matter to attract attention to the (then) new magazine by virtue of its strangeness, such isn’t the case: As indicated in the table of contents, the cover is, “Suggested by Winston Marks’ Kid Stuff“.  This is so:  The painting conveys the premise, mood, and at least partially, the story’s plot.  But, there are neither spacecraft no alien worlds in the tale; Engle probably tossed those in to show visual tropes typical of the general theme of science fiction.

As for Marks’ story, it’s remarkably short at only six pages, unlike William Tenn’s “the Sickness” and Frank McCormack’s “Phantom Duel”, which are the two novelettes carried in this issue.  Ironically – something that the editor and publisher couldn’t have foreseen, the cover story, “The Star” by Arthur C. Clarke at only five pages (placed at the end of the magazine), having proven to have been far more well-remembered than Mark’s tale (if the latter is remembered at all!), would I think have been a far better suitable subject for the cover painting.   

As for “Kid Stuff”, it’s light (well, very light) humorous (well, ever-so-slightly humorous), and neither deep nor profound.  However, while I won’t give away the details “here”, the very brief tale’s plot has a remarkable parallel with that of the Star Trek (original series) episode “The Squire of Gothos” – a parallel I won’t discuss here.  Given the time-frame of Marks’ story and the Star Trek episode (November of 1955, and January 12, 1967 – a gap of twelve years), this suggests – to me – that episode writer Mark Schneider, who ” worked in television and film between the 1950s and the 1980s,” either directly read, or was familiar with Mark’s story. 

You can view the full episode of “Squire of Gothos” at Daily Motion, with the proviso that the video has been vertically transposed such that left is now right, and right now left.  (However, rest assured this change does not induce hallucinations!)  

I’ve transcribed and formatted “Kid Stuff” as a PDF file (akin to Paul W. Fairman’s “The Woman in Skin 13“), which you can download here.  So…  You can read Marks’ story yourself, to judge the parallel between text and television.

In closing, here’s John Giunta’s interior art for Arthur C. Clarke’s “The Star”, about which you can read more at the (highly recommended) blog Classics of Science Fiction.

Some Other Things to Read

Illustrator Robert V. Engle, at …

Internet Speculative Fiction Database

The Squire of Gothos, at …

Wikipedia

Internet Movie Database

Memory Alpha

StarTrek.com

Paul Schneider (writer), at …

Wikipedia

Arthur C. Clarke, at …

Wikipedia

GoodReads

“The Star”, by Arthur C. Clarke, at …

Classics of Science Fiction

GoodReads

John Giunta, at …

Internet Speculative Fiction Database

Wikipedia

Magnificent Obsession, by Lloyd C. Douglas – November, 1962 (1929) [Tom Dunn]

Though I’ve been unable to find much about artist Tom Dunn, his work appears to be stylistically similar to that of Bayre Phillips, possibly – at least in this instance – because of Pocket Books’ desire to maintain consistency in style and cover design for Cardinal Edition paperbacks.

But Wait, There’s More!…

Magnificent Obsession (the book), at…

Wikipedia

Magnificent Obsession (the 1935 movie)…

… at Wikipedia

Full Film, at ok.ru

Magnificent Obsession (the 1954 movie)…

… at Wikipedia

Trailer…

Full Film, at ok.ru

Lloyd C. Douglas, at…

Internet Movie Database

GoodReads

Wikipedia

Tom Dunn, at…

Pulp International

Galaxy Science Fiction, June, 1967, Featuring “The Man Who Loved the Faioli” by Roger J. Zelazny [Gray Morrow]

The cover of the June, 1967 issue of Galaxy Science Fiction, displays a painting by Gray Morrow inspired by a scene from Roger Zelazny’s “The Man Who Loved the Faioli”. 

Yes, there are skeletons in the story, which is set upon a planet which is “the graveyard of the worlds”.  Yes, there are robots in the tale (the scene takes place in the Valley of the Bones), but their appearance is left entirely undescribed.  But they, like the valley, like the bones, really play an incidental role in the story, which features only two characters: Sythia, a Faioli, and, John Auden, the events being told through the eyes of Auden.  And, the narrator.  

The story – only seven pages long and the shortest tale in this issue of Galaxy – is unusual, and lies far more in the realm of fantasy than science fiction, with elements of the latter being incidental to the theme and plot.  With that, while I cannot say that I particularly enjoyed the tale, neither can I deny its originality.  

Some links…

Gray Morrow, at…

Wikipedia

… Castalia House

Internet Speculative Fiction Database

Roger Zelazny, at…

Internet Speculative Fiction Database

Wikipedia

Rembrandt’s Hat, by Bernard Malamud – 1974 [Alan Magee] [Revised post…]

Dating from March of 2018, I’ve now updated this post to display the cover of a much better copy of Rembrandt’s Hat, than which originally appeared here.  The “original” cover image can be viewed at the “bottom” of the post. 

I’ve also – gadzooks, at last! – discovered the identity of the book’s previously-unknown-to-me-illustrator, whose initials, “A.M.” appear on the book’s cover.  He’s Alan Magee, about whom you can read more here

And, a chronological compilation of Bernard Malamud’s short stories can be found here.

Contents

The Silver Crown, from Playboy (December, 1972)

Man in the Drawer, from The Atlantic (April, 1968)

The Letter, from Esquire (August, 1972)

In Retirement, from The Atlantic (March, 1973)

Rembrandt’s Hat, from New Yorker (March 17, 1973)

Notes From a Lady At a Dinner Party, from Harper’s Magazine (February, 1973)

My Son the Murderer, from Esquire (November, 1968)

Talking Horse, from The Atlantic (August, 1972)

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Half a year later, on his thirty-sixth birthday,
Arkin, thinking of his lost cowboy hat
and heaving heard from the Fine Arts secretary that Rubin was home
sitting shiva for his recently deceased mother,
was drawn to the sculptor’s studio –
a jungle of stone and iron figures –
to search for the hat. 
He found a discarded welder’s helmet but nothing he could call a cowboy hat. 
Arkin spent hours in the large sky-lighted studio,
minutely inspecting the sculptor’s work  in welded triangular iron pieces,
set amid broken stone sanctuary he had been collecting for years –
decorative garden figures placed charmingly among iron flowers seeking daylight. 
Flowers were what Rubin was mostly into now,
on long stalk with small corollas,
on short stalks with petaled blooms. 
Some of the flowers were mosaics of triangles.

Now both of them evaded the other;
but after a period of rarely meeting,
they began, ironically, Arkin thought, to encounter one another everywhere –
even in the streets of various neighborhoods,
especially near galleries on Madison, or Fifty-seventh, or in Soho;
or on entering or leaving movie houses,
and on occasion about to go into stores near the art school;
each of them hastily crossed the street to skirt the other;
twice ending up standing close by on the sidewalk.
In the art school both refused to serve together on committees.
One, if he entered the lavatory and saw the other,
stepped outside and remained a distance away till he had left.
Each hurried to be first into the basement cafeteria at lunch time
because when one followed the other in
and observed him standing on line at the counter,
or already eating at a table, alone or in the company of colleagues,
invariably he left and had his meal elsewhere.
Once, when they came together they hurriedly departed together.
After often losing out to Rabin,
who could get to the cafeteria easily from his studio,
Arkin began to eat sandwiches in his office.
Each had become a greater burden to the other, Arkin felt,
than he would have been if only one were doing the shunning.
Each was in the other’s mind to a degree and extent that bored him.
When they met unexpectedly in the building after turning a corner or opening a door,
or had come face-to-face on the stairs, one glanced at the other’s head to see what, if anything,
adorned it; then they hurried by, or away in opposite directions.
Arkin as a rule wore no hat unless he had a cold,
then he usually wore a black woolen knit hat all day;
and Rubin lately affected a railroad engineer’s cap.
The art historian felt a growth of repugnance for the other.
He hated Rubin for hating him and beheld hatred in Rubin’s eyes.
“It’s your doing,” he heard himself mutter to himself to the other.
“You brought me to this, it’s on your head.”

After hatred came coldness. 
Each froze the other out of his life; or froze him in.  (pp. 130-131)

March 25, 2018 255

Galaxy Science Fiction, December, 1964, Featuring “To Avenge Man” by Lester del Rey [Richard McKenna]

“To Avenge Man”, the inspiration for Richard McKenna’s cover art of the December, 1964, issue of Galaxy, is a brief, but well-written story.  The protagonist is the robot who is depicted on the cover kneeling amidst the ruins of a desolate and abandoned moon-base, his pensive gaze directed somewhere between the earth overhead and, the flaccid remnants of a discarded spacesuit lying before him.  Though the scene doesn’t exactly parallel the events of the story, in symbolism and setting it well captures the meaning of Del Rey’s tale.

As to the story itself, after an introduction which will hint at its eventual outcome, the first part builds slowly and in a straightforward fashion, but with a meaningful twist: It’s a tale of isolation, solitude, and survival:  Specifically, the survival – mechanical and electronic such as it is, but survival nonetheless – of “Sam”, a unique, singular, and entirely sentient robot, after a scientific expedition has abandoned a lunar settlement to return to the Earth, during a time of war.  Then, amidst a global war, all contact with men, from men, by men, and between men, completely vanishes.  However, the actual nature and origin of the war is deliberately left ambiguous, and touched upon only slightly. 

And, though Sam is by definition and design an artificial being – does he have a soul? – Del Rey does a fine job of showing the evolution and eventual creation of Sam’s personality, which is characterized by a combination of naïveté, a complete and altruistic devotion to humanity, and unrelenting intellectual curiosity – the latter quality manifested in Sam’s reading of science-fiction (yes, seriously) from the 1930s and 1940s.  Eventually, perhaps inevitably, Sam comes under a kind of monomaniacal spell which compels him to return to Earth to find men, contact men, aid men, determine the nature and origin of the war, and, defend men against all enemies.  Enemies, that is, as Sam has perceived, interpreted, and fully anticipated through the tales of Edward E. Smith and Edgar Rice Burroughs.  Enemies which, he believes, are entirely real.

Sam eventually cobbles together a one-robot spacecraft (hey, life support is of no consideration here!) and does return to Earth.  And from this point on, Del Rey’s tale rapidly moves from a story of endurance and survival to one of slightly mythic tones.  The final direction of the story soon becomes apparent, and its ultimate conclusion – apparent through a careful reading and contemplation of the above-mentioned introduction – while not wholly unexpected, is wholly well told.  

Other Links to Visit…

Richard McKenna, at…

Internet Speculative Fiction Database

Comic Art Fans

(… Obituary at Legacy.com?)

Lester Del Rey, at…

Internet Speculative Fiction Database

Wikipedia

GoodReads

Fantastic Adventures, June, 1952 – “The Woman in Skin 13”, by Paul W. Fairman [Walter R. Popp]

Well, this is interesting…

A green-skinned woman (note her otherwise red pumps and equally red lipstick, as well as her strawberry-blond hair?) holding a pistol, is restrained by a guy in a skin-tight purple body-suit, while a red-headed (also) green warrior approaches upon a duck-billed-sort-of-pterodactyl, followed by reptile reinforcements?  And behind all, three massive, almost-featureless, gray towers?  And, what’s with that green-skinned guy laying in the foreground?

Gadzooks, what is going on here?

Well, there’s an explanation: Walter Popp’s cover art for the June, 1952 issue of Fantastic Adventures is a representation of “The Woman in Skin 13”, a tale by Paul W. Fairman.  Strangely though, the cover lists the author’s name as “Gerald Vance”.  This is an odd, for the magazine’s table of contents and the leading page of the story itself (it starts on page 8) clearly list the author as Fairman.  Likewise, the Internet Speculative Fiction Database indicates that “Vance” was the pen-name for Randall Garrett, William P. McGivern, Rog Phillips, Richard S. Shaver, Robert Silverberg, and Henry Slesar – not a single “Paul W. Fairman” among them.

I first noticed this cover art some years back, I think (?) in Brian Aldiss’ compilation Science Fiction Art: The Fantasies of SF, published by Bounty Books (New York), back in 1975.

The scene depicted stands out as much for its strangeness as its GGA – “Good Girl Art” – qualities, the latter being manifested in much of artist Popp’s oeuvre. 

In light of Fantastic Adventures, akin to many other science-fiction pulps now having been digitized and thus being immediately available at the Luminist Archive, and, the Pulp Magazine Archive, I thought it’d be interesting to read Fairman’s original text which was the basis of Popp’s painting.  I wanted to see how the genre was presented in periodicals whose cover art has typically been – in retrospect! – far more memorable than their literary content.  (Of course, with exceptions.)  At least, as opposed to stories published in higher-tier pulps in the genres of 40s and 50s era science-fiction and fantasy, such as Astounding Science Fiction, Galaxy Science Fiction, and, The Magazine of Fantasy and Science Fiction.  

So, Fairman’s story, while hardly great, is not bad, either; I think apt words would be “adequate” and “serviceable”.  It is an entertaining and mild diversion.  But, while competently written, it doesn’t at all possess the degree of originality in terms of plot and theme, let alone character development, that would makes one “pause” and ponder the tale, whether in the midst of reading it, or afterwards.  It’s not at all great, by any stretch of the imagination.  It’s not altogether bad, by any stretch of the imagination.  

The plot is based on an alien invasion of Earth which begins in and expands from Chicago, by human-appearing – and, for all practical purposes, biologically human – invaders known as the Argans, who arrive aboard a generation-ship made of steel (yes, steel) known as the Narkus, with the goal of colonizing the earth.  The males and females of this species, “…according to the refugees and the counter-attackers, were of two colors.  The males were of a violet hue; the females, all the same shade, of green.  Physically, both sexes were, according to Earth standards, magnificent specimens.  They wore little clothing, but seemed entirely comfortable even in the comparative chill of night and early morning.” 

The story centers around an effort (solely on the part of the United States, despite Chicago only being the starting point of a global invasion) to conduct an offensive against the Argans in order to regain captured territory, and, drive the aliens away.  This action hinges on the infiltration of the Argans by one Mary Winston (the green-skinned woman on the cover), upon whose mind the memories and particularly the personality of a captured Argan female have been superimposed and imprinted.  This process is the basis of the story’s title: “Skin 13” refers to the 13th effort (the prior 12 having been unsuccessful) to create a formula capable of dying human skin green in order to simulate the skin color of Argan females.  

Paralleling Mary’s clandestine infiltration of Argan forces, her significant other – one Mark Clayton (the purple-suited guy on the cover) – leads a team of commandos into the heart of Argan-controlled territory, with the eventual goal of reuniting with Mary and returning her to Earth forces.  En route, there are interactions with “zants” and “zors”.  The former are a caste of Argan slaves, their control maintained by forces addiction to “dream pellets”; the latter (featured on the cover) are flying reptiles of a sort. 

The ending – a bittersweet twist – I will not give away!

In sum, we have two oft-used plot elements of science-fiction:  Extraterrestrial invasion, and, mind transference.  It is the latter that’s really the crux of the story, and which Fairman develops to a great and solid extent.     

On reviewing the biography of Paul Fairman at the Internet Speculative Fiction Database, it can be seen that “The Woman in Skin 13” has never been anthologized, and it’s only been reprinted once: In Armchair Fiction’s Ace-like double The Venus Enigma / The Woman in Skin 13, the cover of which lists the author as Gerald Vance. 

So, given that I read the story, I thought it’d be interesting to turn it into a stand-alone document, should anyone “out there” be curious about Fairman’s now sixty-eight-year-old tale.  So, in a roundabout way, I turned the file (from the Luminist Archive) into a stand-alone document (which, incidentally, incorporates the two illustrations appearing in the original text) which you can access here

Neither great nor bad, the story is a passing and entertaining diversion. 

Which, I suppose, is just what Paul Fairman and the publisher of Fantastic Adventures wanted.  

Here’s More Stuff to Read…

Paul W. Fairman, at…

… Internet Speculative Fiction Database

GoodReads

The Encyclopedia of Science Fiction

OneLimited

Walter R. Popp, at…

… Internet Speculative Fiction Database

PoppFineArt

American Art Archives

Fantastic Adventures, at…

Wikipedia

Good Girl Art (GGA), at…

Wikipedia