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Spaceways, v. 4, issue 5, whole no. 28, June 1942
Page 20
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20 SPACEWAYS FROM THE CONTROL ROOM background, is very impressive. Paul, though not a great character, isn't as pallid as Evanne. Weinbaum, throughout the book, never fails to build his high points carefully: there is no anti-climax anywhere in the story. Some of the poetry is interesting, although "Edmond's Circle" is little more than doggerel and other passages act as if they were trying to be opera librettos. Chief fault: Weinbaum's way of quoting directly Edmond's thoughts and observations. Excellent as some of his philosophy may be, to a superman almost every direct quote in the book would be an utterly trite and obvious platitude. If it were Le Zombie, Tucker would call this Two Letters from Harris Schmarje Dept.: They've puzzled me mightily. The first, written a month ago, says in part: "As a temporary vacation, literally, I am resigning from fandom (please don't pass out--I shall continue to explain). " My present writings stink. Editors are actually banning my columns from their publications. I am left holding the bag, so to speak. What am I expected to do? Resign from fandom, I take it. " I no longer wish to antagonize people...... Readers of Spaceways are cultured people, I take it?.....So, this is the result. " I am going cultured. I mean to assume a dignified tone soon that will mean only one thing--I will dominate the field, at present our suave editor of Spaceways is considered quite 'dignified', as he is rather heavy and, of course, one not quite so radical as certain of the west coast and southern characters. " ..... I believe you need a letter by me in your mag to keep up your readers' morale!" That is odd enough in itself, redeemed only by its great understatement in admitting me free from that worse-than-death fate, the radicality of certain fans. (Two fans who visited me recently dropped over in a faint from astonishment at finding that the house is wired for electricity; such is the legend of my conservativeness!) But a letter which came a week later said: "My dear Harry et Spaceways: I am sure you, Gilbert, and Jenkins would like me to appear in your letter column as of days of yore, so I couldn't resist letting you know I am still here. " .....Chee, Tom Ludowitz has requested that I do his feature column, 'The Printed Page', in his great new mag, Space Tales. That mag needs the support of all the fans. Take my advice. " .....I so much want fandom to become acquainted with the new Harry Schmarje. You'll be surprised how I have turned out....." And then he goes on to tell about his new fanzine, which he was apparently working on when the first letter was written. What gives? Aside from the obvious point that a Schmarje column is enough to make any fanzine need the support of fandom, why is it sometimes Harry and again Harris Schmarje? Is it a split personality, or merely a case of Milty being a louse? The recent not entirely unfounded criticism of Astounding and Unknown Worlds reminds me of something: there seems to be something to prevent a prozine stf. magazine editor from putting out a fine publication for more than three years. Look at the record: Hugo Gernsback kept control of Amazing for about that length of time. After T. O'Conor Sloane took over, approximately that much again saw its freshness and its lapse into the decadence from 1933 to 1938. Tremaine kept Astounding at a very high level for three years, and it almost immediately had to be rescued by a new editor, Campbell. He was in office almost three years when the present criticism started. Horning did wonders with Wonder for three years or a little longer--then the magazine was sold to Standard; and Weisinger lasted only about as long, and was replaced by Friend. Harry Bates' Astounding apparently ran into its financial difficulties after about three years --Palmer is apparently the only exception, for he seems to be going stronger than ever after four years. Evidently a stf. editor loses a certain vital enthusiasm or interest in his work after three years, and it shows up in quality of the fiction or circulation figures. Highly recommended: Walt Daugherty's recently published Directory of Fandom. It's by far the most complete index of fans' names and addresses everyissued, remarkably accurate and handy, and invaluable to The Busy Fan. If interested, write him at 846 1-3 W. 82nd St., Los Angeles, Calif. Another must: the anniversary issue of Fantasite, 15c from 224 West 6th St., Hastings, Minn. It's the very finest single fanzine issue since the days of Fantasy Magazine. HW
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20 SPACEWAYS FROM THE CONTROL ROOM background, is very impressive. Paul, though not a great character, isn't as pallid as Evanne. Weinbaum, throughout the book, never fails to build his high points carefully: there is no anti-climax anywhere in the story. Some of the poetry is interesting, although "Edmond's Circle" is little more than doggerel and other passages act as if they were trying to be opera librettos. Chief fault: Weinbaum's way of quoting directly Edmond's thoughts and observations. Excellent as some of his philosophy may be, to a superman almost every direct quote in the book would be an utterly trite and obvious platitude. If it were Le Zombie, Tucker would call this Two Letters from Harris Schmarje Dept.: They've puzzled me mightily. The first, written a month ago, says in part: "As a temporary vacation, literally, I am resigning from fandom (please don't pass out--I shall continue to explain). " My present writings stink. Editors are actually banning my columns from their publications. I am left holding the bag, so to speak. What am I expected to do? Resign from fandom, I take it. " I no longer wish to antagonize people...... Readers of Spaceways are cultured people, I take it?.....So, this is the result. " I am going cultured. I mean to assume a dignified tone soon that will mean only one thing--I will dominate the field, at present our suave editor of Spaceways is considered quite 'dignified', as he is rather heavy and, of course, one not quite so radical as certain of the west coast and southern characters. " ..... I believe you need a letter by me in your mag to keep up your readers' morale!" That is odd enough in itself, redeemed only by its great understatement in admitting me free from that worse-than-death fate, the radicality of certain fans. (Two fans who visited me recently dropped over in a faint from astonishment at finding that the house is wired for electricity; such is the legend of my conservativeness!) But a letter which came a week later said: "My dear Harry et Spaceways: I am sure you, Gilbert, and Jenkins would like me to appear in your letter column as of days of yore, so I couldn't resist letting you know I am still here. " .....Chee, Tom Ludowitz has requested that I do his feature column, 'The Printed Page', in his great new mag, Space Tales. That mag needs the support of all the fans. Take my advice. " .....I so much want fandom to become acquainted with the new Harry Schmarje. You'll be surprised how I have turned out....." And then he goes on to tell about his new fanzine, which he was apparently working on when the first letter was written. What gives? Aside from the obvious point that a Schmarje column is enough to make any fanzine need the support of fandom, why is it sometimes Harry and again Harris Schmarje? Is it a split personality, or merely a case of Milty being a louse? The recent not entirely unfounded criticism of Astounding and Unknown Worlds reminds me of something: there seems to be something to prevent a prozine stf. magazine editor from putting out a fine publication for more than three years. Look at the record: Hugo Gernsback kept control of Amazing for about that length of time. After T. O'Conor Sloane took over, approximately that much again saw its freshness and its lapse into the decadence from 1933 to 1938. Tremaine kept Astounding at a very high level for three years, and it almost immediately had to be rescued by a new editor, Campbell. He was in office almost three years when the present criticism started. Horning did wonders with Wonder for three years or a little longer--then the magazine was sold to Standard; and Weisinger lasted only about as long, and was replaced by Friend. Harry Bates' Astounding apparently ran into its financial difficulties after about three years --Palmer is apparently the only exception, for he seems to be going stronger than ever after four years. Evidently a stf. editor loses a certain vital enthusiasm or interest in his work after three years, and it shows up in quality of the fiction or circulation figures. Highly recommended: Walt Daugherty's recently published Directory of Fandom. It's by far the most complete index of fans' names and addresses everyissued, remarkably accurate and handy, and invaluable to The Busy Fan. If interested, write him at 846 1-3 W. 82nd St., Los Angeles, Calif. Another must: the anniversary issue of Fantasite, 15c from 224 West 6th St., Hastings, Minn. It's the very finest single fanzine issue since the days of Fantasy Magazine. HW
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