August Derleth (editor) - The Other Side of the Moon (1948)

 

This was originally a hardback collection, of which - due to the limitations of bookbinding at the time - it was possible to fit only half the stories in the paperback version, which is what I have here. So I'm missing material from H.G. Wells, Lord Dunsany, Frank Belknap Long, Clark Ashton Smith, H.P. Lovecraft, and Ray Bradbury amongst others, although mostly stuff I've read elsewhere from what I can tell. Those selections which made the cut seem to have been less established names at the time of publication, but Derleth knew what he was doing and there's no particularly weak link in the resulting chain.

That said, this is golden age science-fiction as distinct from any modern variant, so there's not much point getting pissy over the absence of lengthy discussions about the properties of photons. The genre was still evolving, John W. Campbell was just beginning to make a name for himself, and even if everyone was familiar with Wells, Gernsback, and the rest, a lot of what we have here is more or less weird fiction with a few sciencey touches stirred in for flavour, and Donald Wandrei's Something from Above typifies the form as a marginally less purple Lovecraft-style yarn about flying saucers; and where contributions may not quite tick all the recognised weird fiction boxes, they're fucking weird nonetheless.

A.E. van Vogt's Resurrection, for example, teaches us that human beings brought back to life by aliens following the extinction of the human race will have superpowers for no adequately explained reason. The lad was firing on all four cylinders with that one. Elsewhere we find Original Sin in which S. Fowler Wright predicts that philosophy will eventually advance to such a degree as to inspire the entire human race to commit to a surprisingly cheery form of mass suicide, because the purpose of life is the evolution of its own destruction or summink; and Eric Frank Russell's Spiro recruits a shape-shifting alien refugee to the London music hall of the day thus allowing us to imagine what a Tommy Trinder version of Campbell's Who Goes There? might look like.

The rest are mostly cut from the same strange cloth; which you might call dated, but I'd prefer to regard as simply consistent with a particular style and mood associated with the forties, blending deco stylings with post-bomb paranoia and all of our ideas about supermen beginning to look a bit shaky; and, as ever, Derleth brought us the cream of the crop.

Analog November 1979

Stanley Schmidt (editor) Analog November 1979 (1979)
Here's an Analog I've had for something like fifteen years, picked up from a shop in Cornwall because it seemed a shame to leave it on the shelf but never read because I soon came to realise that Analog was often shite, particularly the September 2008 issue which - seeing as I haven't mentioned it in about five minutes - featured Henry G. Stratmann's Last Temptation of Katerina Savitskaya, which is competition level dreadful.

Anyway, here we get off to a poor start with Beyond Relativity, G. Harry Stine's guest editorial about how science is never finished, and Einstein would have said as much and would therefore have been quite pissed off to find his theories about general relativity now set in stone. It's interesting and seems worth taking seriously once you've read past the repetitive tone of a nutcase muttering about how those fools have got it all wrong - wrong, I tell you! Elsewhere we find Stine explaining how difficult it will be to fly spaceships, and as a friend of doctors and dentists - professional people - he should know. Whether or not he has a valid point, I stopped caring because he does that thing which autodidactic bores always do of challenging you with a rhetorical question you will be unable to answer.

Why do you think there are still three highly-qualified people riding on that flight deck engaged in constant monitoring and ready to assume complete command in a split second?

I don't fucking know, George, but I'm sure you're about to tell me.

I couldn't get past the first few pages of Roger Arnold and Donald Kingsbury's lengthy article explaining where NASA have been going wrong all this time with regards to getting things up into orbit. Apparently there's a much easier way. Given that this notionally revolutionary article appeared in 1979 and it's now 2023 and we're still using massive rockets, I'm guessing maybe there wasn't a much easier way after all. Whilst Analog's blend of science fiction and science fact, or science almost fact was probably commendable, I read New Scientist for a number of years back in the nineties and I don't recall a single article written in the slightly cranky, defensive tone of the stuff you find in this thing - not one instance of anyone muttering about fools who don't understand.

On a marginally happier note, we have the fiction, of which Mark J. McGarry's Phoenix is readable and interesting from an anthropological perspective, placing a lone explorer in the midst of an inscrutable alien species, although it's somewhat let down when the phoenix turns out to be himself experiencing an holistic (or something) awakening after watching an extraterrestrial birthing ritual. His career was on the rocks but now he has purpose, you see.

Also featured is the second of three instalments of Simak's The Visitors, published as a complete novel in 1980, and even read bereft of top and tail, it's a pleasure and one which makes everything else in the mag seem underwhelming at best. The Visitors uncannily foreshadows the movie Arrival - or whatever novel that was based on, I guess - with its uncommunicative extraterrestrial monoliths floating hither and thither. I'm guessing it's either Simak's response to Close Encounters of the Third Kind - or some editor nudged him in that direction - from which healthy distance is achieved in, for one example, a character who shuns identity because he does not want it known that he had been 'taken up' by the visitor, he does not want to be another kook associated with flying saucers. As ever Simak, does his own thing.

Maybe it was because it was so totally unlike the common concept of something out of space. To a people brought up on the idiocies of TV and movie imagination, the reality must seem quite commonplace.

It's probably odd to read just the middle part of a novel I have on the shelf, but Simak is rewarding in any configuration, and this excerpt is additionally interesting in that the two page synopsis also seems to have been written by himself, or is at least recognisably his voice, which for me renders it the written equivalent of rare studio outtakes.

A less ambitious alien invasion is somehow prevented by a pair of old codgers in Kevin O'Donnell's Old Friends, which centres upon extraterrestrial technology disguised as a park bench - but a lot less Tharg's Future Shocks than that may sound and therefore pretty decent by Analog standards; and we end with Movers and Shakers by Thomas A. Easton which is satisfyingly absurd and possibly the best thing I've read in an issue of this magazine.

 

So this ended better than I had expected. Given the history of Astounding and John W. Campbell, Analog always had a lot of unfortunate stuff in its DNA, and even with the occasional uncharacteristic ray of sunshine peaking through those frowning clouds of manly pipe smoke, the advertising reminds us that we're hanging out with persons who don't work right, the sort of people who would actually read an outer space newspaper or send off for the microfilm edition of the magazine because it seemed futuristic and therefore exciting. From this, I guess we learn that these people were always amongst us. The difference is that now they have the internet.

 

 

Rocket Ship Galileo

Robert Heinlein Rocket Ship Galileo (1947)
I loathed Stranger in a Strange Land with such force as to inspire the promise that I would never read another Heinlein, but Alec Nevala-Lee's history of Astounding has given me cause to lift this embargo, because I'd forgotten how much I enjoyed those I read before I came to the aforementioned four-hundred pages of egocentric shite. So here we are again.

Rocket Ship Galileo may be among the squarest tales ever told - pipe-smoking scientist helps three rocket crazy young lads to build a spacecraft by which they fly to the moon, with all the science done right, equations and calculations described in detail, and no agricultural language or references to beastly habits. It's almost a variation on the lunar expeditions of Jules Verne or H.G. Wells as they would have been serialised for fifties America by the guy who wrote Biggles, but - as I now remember why the man had such a reputation - Heinlein not only makes it work, but it's positively gripping. He ticks every last box on the John W. Campbell checklist - five page lectures about sub-atomic particles, plot elements hung upon obscure features of trigonometry, lengthy discussions of structural integrity whilst our three smart young lads address everyone as sir and behave unlike teenagers have ever behaved in the real world - and yet Rocket Ship Galileo dazzles, page after page, somehow swanning around like a jaunty insurance salesman with pipe clenched firmly in its wry grin without a predictable sentence or narrative twist in sight.

I still don't know how he came to write Stranger, and there's no way I'm touching anything written later, but I'm glad I got over the hump. I'm already looking forward to the other two I picked up at the same time as this one.

Astounding

Alec Nevala-Lee Astounding (2018)
In addition to being a biography of John W. Campbell, Nevala-Lee's account also serves as a potted history of Astounding magazine and the birth of modern science-fiction - all three being inextricably knotted together. Obviously Astounding wasn't the only digest, but once Gernsback had left the table, it was the one with the widest influence which gave us the greatest authors of the form, notably Asimov, Heinlein, L. Ron Hubbard, A.E. van Vogt and others.

As with Gernsback's Amazing Stories, Campbell's impetus was futurism and invention at least as much or arguably more so than it was literary. He was an ideas man more than a writer, and so as editor of Astounding Stories of Super-Science, he farmed his ideas out to those he trusted to do a better job, usually preferring to focus on columns and editorials covering technological advances and innovations of the day and what he hoped would come next. Science-fiction was still burning off the energy of the nineteenth century discovery of progress as something which might be observed within a single human lifespan and the idea that we might actively direct where it was headed. Evolutionary theory had inevitably inspired the notion of supermen, and Campbell and Hubbard in particular were keen to lead the way in this respect.

The success of Astounding and of its greatest writers probably accounts for why science-fiction has become synonymous with film and television more so than with the written word, which is a shame in my view, but was most likely inevitable. More surprising is just how much of Astounding has extended itself into the present, notably the first science-fiction fan clubs of the thirties and forties foreshadowing the worst aspects of today's social media, and of course Hubbard's pseudo-religion which might arguably serve as a metaphor for much of the wider capitalist society it inhabits - which is depressing given that the Dianetics from which it was born didn't seem entirely without merit.

Anyway, as you may be aware, Campbell seems to have been a fairly unpleasant character, and Nevala-Lee does an exceptional job of balancing the myth against the reality, unflinching in describing the man's worst qualities without presenting an impediment to appreciation of what he got right, even where it was for the wrong reasons. Honestly, no-one comes out of this saga smelling of roses, although I'm left considerably more sympathetic towards Robert Heinlein - providing I don't have to read Stranger ever again; but it's a story which really needs telling given the generally unreliable testimony of science-fiction enthusiasts, because it's worth remembering that this terrible man nevertheless had great ideas, and - while we're here - L. Ron Hubbard really knew his way around a typewriter, seeing as we've apparently forgotten that detail as well*.

Astounding is surprisingly exciting, weirdly depressing, and yet fascinating; and it also explains why I've never yet fully enjoyed an issue of Analog, which was successor to Astounding and always felt as though there was something unpleasant lurking at its conservative little heart.

*: Curiously it turns out that Hubbard never particularly cared for science-fiction, which possibly explains that ropey story about Xenu and reincarnated aliens dropping bombs into volcanoes. His favourite genre, so it turns out, involved pirates and the high seas. It's a shame no-one told Tom King before he sat down to write Rorschach.

Analog July 1971

John W. Campbell (editor)
Analog July 1971 (1961 but felt more like 1931)
This looks interesting, you think, so the next time you see a copy in a second hand place, you pick it up, maybe acquiring a stack of back issues before you've actually read any of them. Then you read them and a hard lesson is learned.

Campbell's editorial comprises the usual ranting about how hippy beatnik liberals are living in cloud cuckoo land, DDT is good, and how he'd like to see every endangered species wiped off the fucking face of the Earth; and on page seven there's an advert for a hardback collection of previous editorials should you wish to charge your pipe with a goodly plug of tobacco and sit chuckling over accounts of damn liberals and long hairs revealed for the fools they are by the mighty power of scientific discourse; and so to the stories...

Joseph P. Martino's Zero Sum seems to be a loose analogy of what was going on in Vietnam, which eventually comes out as one of those Asimov-style logic puzzles. Here's one sparkling example of its dialogue.

'Anyway, the point is there's one best mix of tactics, and you can't improve your situation by deviating from it. In fact, if you do deviate, your average losses increase. The way we figure it, on each engagement between a Destroyer and a Monitor, on average we should lose three quarters of a man less than they do. Instead, their losses average one and three eights man per engagement more than ours. And the reason is they're using the wrong mix of tactics. If they'd use the right mix, they could cut their losses, and there wouldn't be a thing we could do about it.'

There's a scene of our lads watching governmental speeches about the war on telly which lasts for nine pages. To be fair, it picks up a little in the second half but only in the sense that an Ed Sheeran album probably won't be anything like so terrible as you expect it to be.

F. Paul Wilson's The Man with the Anteater starts off with both the charm and the cast promised by the title, then turns into a pseudo libertarian opinion column while the reader is distracted by union bashing comments on just the third or second page, all of which leaves a bit of an unpleasant aftertaste.

I managed about four pages of Gordon R. Dickson's The Outposter, presumably the second half of a novel here serialised in instalments. It's probably unfair to judge something so poorly on the strength of four pages somewhere in the middle, but I couldn't even plough my gaze through the synopsis of what had already happened in the previous episode. I think it's about a ragtag crew of rebellious space renegades, or pirates, or something. I guess I'll never know.

James H. Schmitz's Poltergeist is, if not amazing, certainly readable; and A Little Edge by S. Kye Boult seems massively out of place here in terms of quality and, weirdest of all, seems to foreshadow the general tone of certain things by China Miéville.

Also there's an article about a computer game excitingly named Spacewar, which is probably hilarious if you care about such things given that this was 1971 and the guy spends twelve pages gushing over what may as well be Pong, but I couldn't give a shit about computer games. I tried half a page and found myself granted particular insight into Midge Ure's feelings regarding the city of Vienna.

The book review section uses up quite a few words in sneering at mainstream literary authors who dabble with science-fiction, for their admittedly well-written efforts are as naught compared to the power of Gordon R. Dickson, or indeed everything else published in the mighty pages of Analog; then spunks away what little validity the argument may have accumulated with praise for something by - ugh - Colin Wilson; which leaves us with just the letters page, which is mostly praise for previous Campbell editorials, including an angry housewife fulminating against kids these days. The one note of dissent comes from an anthropologist defending his field as a legitimate area of study, warranting a significantly longer response from Campbell restating his position that it's not science if it doesn't involved a blackboard covered in complicated equations, and only a fool would claim that blah blah blah…

I've got another four of these fucking things on my reading pile.

Analog April 1961

John W. Campbell (editor) Analog April 1961

(1961 but felt more like 1931)
Up until last November, I'd read only one issue of Analog. It was kind of shit, but I assumed I'd simply picked up a dud copy of an otherwise decent magazine and so casually accumulated a further five back issues as I happened upon them in junk shops on the grounds of the covers holding promise, and I'd get around to reading them eventually, and maybe there would be something amazing in one of them. This is now my third and I think I'm beginning to see the central flaw in my strategy regarding back issues of Analog. In this instance I was drawn in by the prospect of fresh Simak. The Fisherman actually turns out to be the serialised version of the novel which was later published as Time is the Simplest Thing, and is therefore wonderful, even in this truncated form. The problem is the sharp contrast it throws across everything else in the magazine.

Beyond Simak, the collection isn't entirely without redeeming features but you really have to work at it. We kick off with one of Campbell's characteristically unsavoury editorials, this time discussing colonialism by comparing examples from science-fiction literature with the history of Africa, the Americas and elsewhere. The racism is very much in the casual school but, perhaps unsurprisingly, his views of less technologically developed societies and their worth in the great scheme of things are typically appalling. I therefore also skipped Campbell's essay about innovations in the manufacture of light bulbs because fuck that guy.

Excepting J.F. Bone's underwhelming but mercifully short A Prize for Edie, the remainder comprises tales of space pilots, teams, men who address each other as sir, colonels, and other species of square, enjoyment of which probably depends on the reader having some kind of military background and being the sort of fellow who enjoys a well-mixed Martini after a few hours on the golf course. Lloyd Biggle Jr.'s Still, Small Voice - in which military types attempt to influence the politics of a pseudo-medieval planet - is just about saved by its culminating revolution sparked through the invention of the trumpet. I gave up on Christopher Anvil's Pandora's Envoy after five or six pages, skipping ahead to Robert Donald Locke's Next Door, Next World.

Lance kissed her. A tender kiss, yet gusty enough that he lifted her from the ground and her high-heeled shoes kicked in free fall.

The pilot found his girl's breath warm, loving. Yet her cheeks seemed colder than even the crisp air should account for. And her body was trembling.

Lance is a dashing space pilot, and his girl is the colonel's daughter. Lance flies off into space and when he returns, he finds the colonel has never had a daughter because of space warps and alternate realities 'n' shit. I'm sure it was mind blowing back in April 1961. Anyway, following Next Door, Next World I took another shot at Pandora's Envoy and found it wasn't quite so bad as it had seemed; but honestly, most of this stuff would seem pitiful in competition with Andre Norton, never mind Simak.

There's also a section of book reviews comprising mostly plot summaries of the offerings under scrutiny. This novel features an intrepid space reporter named Jed who travels to Titan to cover the Interplanetary Space-Golf Tournament, but when Jed arrives he finds that a mysterious stranger is already checked into his hotel under his name. At first he decides to blah blah blah…

Three down, three of these turkeys to go...

Analog November 1966

John W. Campbell (editor) Analog November 1966 (1966 obviously)
The more I learn of John W. Campbell, the less I like, and this didn't help. I've recently been listening to Frank Zappa's We're Only in It for the Money album and have found myself particularly entertained by Bow Tie Daddy, a short jolly burst of ragtime sarcasm.

Bow tie daddy dontcha blow your top,
Everything's under control.
Bow tie daddy dontcha blow your top,
'Cause you think you're gettin' too old.
Don't try to do no thinkin',
Just go on with your drinkin',
Just have your fun, you old son of a gun,
Then drive home in your Lincoln.

Anyway, I get the impression that Analog was probably essential reading for the bow tie daddies of America. This is the second issue I've read, and the first featured Henry G. Stratmann's The Last Temptation of Katerina Savitskaya which is probably the worst short story I've ever encountered.

'What the fuck, Lawrence, man?' I hear you ask. 'Why you be putting yourself through that shit? Man, that's fucked up.'

I was in one of those used book stores resembling the front room of some hoarder - weird smells, nothing in any particular order, and half of the stock piled in random towers here and there. I found this and bought it, being quite partial to a spot of Murray Leinster. Only when I got home did I realise that I'd already read Quarantine World as one of the three collected in SOS from Three Worlds.

Oh well.

Unfortunately, while SOS from Three Worlds is not without charm, it was never anything mind-bending, and Quarantine World is arguably its weakest story; which leaves us with Christopher Anvil's Facts to Fit the Theory, Stewart Robb's Letter from a Higher Critic, and the final instalment of Randall Garrett's serialised Too Many Magicians. There's also a scientific article about alternative dimensions which seemed to be mostly sums and was therefore incomprehensible to me; plus book reviews, letters, some editorial about antibiotics and the FDA, and an advertisement for a five album boxed set from Herb Alpert and the Tijuana Brass on the back cover. The issue to follow this one apparently featured Amazon Planet by Mack Reynolds, as summarised thus:

Amazonia, being the only planet colonised by a bunch of fiercely feminist women, was naturally all the more fiercely determined that the other misguided (read: "male-guided") planets of the United Planets weren't going to interfere in any way whatever.

Which made it a l-i-t-t-l-e difficult for a United Planets man to land on the planet—even if Amazonia needed his help badly. But when a little, inoffensive contract negotiator man got into a slight mix up over names—they read his name Guy as Gay—he was in for trouble of types he had never dreamed of. Amazonia has some very unusual marriage customs it seems…

See what I mean?

Anyway, Facts to Fit the Theory is a short story taking the form of memos and letters exchanged between various star colonels and solar lieutenants discussing military protocol as applied to the defense of some planet during an alien incursion, so I couldn't be bothered to finish that one. Letter from a Higher Critic is yet another story taking the form of a letter, this time composed by someone from the far future disputing the facts of ancient history, which is actually our present, and for reasons which aren't really sufficiently novel as to form the basis of a short story; and the title Too Many Magicians probably tells you as much as you need to know about Randall Garrett's thing, which employs the address my Lord in more or less every other sentence, ingeniously features a character named Sir Lyon Gandolphus Grey, and amounts to an unusually long episode of Midsomer Murders written as a tenth generation Tolkien knock off. It isn't quite so bad as Anvil or Robb's contributions, but I nevertheless gave up about half way through. There just didn't seem to be a point in reading any more.

Yup. Excepting one of Leinster's lesser works, this was rubbish, I tell you what. Even Bow Tie Daddy deserved better.

Selections from The Astounding Science Fiction Anthology

John W. Campbell (editor)
Selections from The Astounding Science Fiction Anthology (1956)
Isaac Asimov said of John W. Campbell, editor of Astounding Science Fiction, that the man was the most powerful force in science fiction ever, and for the first ten years of his editorship he dominated the field completely. By agency of his magazine, Campbell was first to publish many of the greats - Asimov himself, Heinlein, Lester del Rey, Theodore Sturgeon, and of course the mighty A.E. van Vogt. It's therefore probably inevitable that the stock of his name has lost some of its currency in recent years, just as has that of Hugo Gernsback, arguably Campbell's spiritual forebear in the field. Campbell popularised a very specific strain of science-fiction - two-fisted, deeply conservative men having space adventures whilst reeling off lists of scientific statistics, the sort of thing which led to Star Wars, Alien, and the rest. I can't be arsed to dig out my copy of Brian Aldiss's Trillion Year Spree, but I expect he will have said something along those lines; and assuming he did, he will have had a point.

Campbell was unfortunately of his time in the sense of Oswald Mosley and senator Joseph McCarthy being of their time, with all kinds of unsavoury views regarding race, socialism, and the institution of slavery, as Michael Moorcock reported in an editorial piece entitled Starship Stormtroopers, essentially a brief history of authoritarian currents in science-fiction literature:

He also, when faced with the Watts riots of the mid-sixties, seriously proposed and went on to proposing that there were 'natural' slaves who were unhappy if freed. I sat on a panel with him in 1965, as he pointed out that the worker bee when unable to work dies of misery, that the moujiks when freed went to their masters and begged to be enslaved again, that the ideals of the anti-slavers who fought in the Civil War were merely expressions of self-interest and that the blacks were 'against' emancipation, which was fundamentally why they were indulging in 'leaderless' riots in the suburbs of Los Angeles.

The more I know about Campbell, the less I like, and yet I'd nevertheless rather not see him chucked down the same oubliette as Gernsback. Whilst I agree that his talent and reputation may be historically overplayed, and that as a person he sounds absolutely ghastly - as I'm sure Sir Kenneth Clark would agree - for better or worse, his influence upon the genre is undeniable, and his legacy is not entirely lacking in redeeming qualities. Just like Gernsback, Campbell's vision was arse, but it was populist, bestselling arse, and providing you keep in mind that it was arse, there's nevertheless some pleasure to be gained.

The Astounding Science Fiction Anthology came out in 1952 as a mammoth hardback assemblage of twenty-two short stories by what were then the biggest names. I gather it was one of the first anthologies of its kind, and as such left an indelible stamp on the genre as a whole. This collection is one of several paperbacks reprinting just eight of those stories, because paperback technology of the time was supposedly not quite up to reprinting the whole thing; and I picked it up, still buzzing from reading a Murray Leinster collection and hoping to keep the magic going.

Leinster's fiction very much ticked all of the Campbell boxes, but as with A.E. van Vogt, I nevertheless find the atmosphere and peculiar narrative twists compelling and often so odd as to actively undermine the square-jawed subtext; which isn't to say that they're anything deep, just immensely enjoyable. That said, I've noticed a peculiar quality of Leinster's view of the alien entirely in keeping with what Moorcock regards as the authoritarian tendencies of Campbell's lads. First Contact is a variation on The Aliens from the collection of the same name, in which humans encounter extraterrestrials in deep space. Whilst the encounters are not overtly fraught with hostility, they seem informed by the paranoid cold war politics of the time, and bizarrely so. Both tales spin upon the supposed inevitability of alien species who really want to be able to trust each other but somehow know this to be impossible, and so they must destroy each other.

Well duh.

It makes for odd reading in 2016, but it helps that Leinster reaches an amicable conclusion, in part revealing the folly of xenophobia; which makes a pleasant change from the alien as foul bug-eyed Communist and, I suppose, might even get its message to those needing it with greater efficacy than would a more overtly liberal tale. Although that said, The Aliens seems particularly weird for having an out and out declared xenophobe on the crew of its ship, and one stated as having been chosen specifically so as to provide a variant perspective to that of the ship's more reasonable captain - all seeming very pertinent right now, of course...

Ugh... yeah - getting back to this book, the first story is Asimov's Nightfall which I read in 2008 and thought was amazing. Almost everyone I know who has read Asimov, read and enjoyed his work as teenagers then later came to regard his writing as big on ideas but otherwise piss poor and very much overrated. I didn't actually read anything by him until 2008, by which point I would have been in my forties, and I thought he was fucking terrible, particularly those Susan Calvin stories; until someone pointed me in the general direction of the good stuff, or what seemed to be the good stuff, and thus was my opinion revised, or at least modified. Yet reading Nightfall now, it too seems horribly clunky - an admittedly nice big idea somewhat lost beneath thirty pages of dreary conversation amounting to a couple of one-dimensional characters describing the story to us.

Protons, you say? So what kind of properties might one of those have?

Anyway, I picked this from the shelf thinking I could hardly go wrong given the names on the cover, but ultimately, aside from a half decent Leinster, an averagely pleasant - and conspicuously well written Simak - and A.E. van Vogt's eye-wateringly peculiar Vault of the Beast, it's all a little underwhelming. Possibly excepting the slog of Nightfall, there's nothing terrible here, but it fails to live up to the promise of Paul Lehr's wonderful cover painting, and dammit - this collection really should have been better.

First He Died

Clifford D. Simak First He Died (1951)
First He Died is better known as Time and Again, the title it gained upon reprint. I read Time and Again only a couple of years ago, but saw a copy of this earlier incarnation amongst the titles some person had up for auction on eBay. I'd already bagged Clark Ashton Smith's Zothique collection, David Lindsay's A Voyage to Arcturus, and George MacDonald's Lilith off the guy, and somehow I just couldn't leave this one behind, even given that the bid would mark my crossing over from reader to collector.

Anyway, I still can't tell if this is quite the same as the retitled version. There are scenes I don't recall having read first time around amongst other apparent discrepancies, although quickly comparing the two, flipping from one copy to the other, I strongly suspect  they're identical and this is simply a book which improves quite dramatically with repeated reading. Certainly I don't remember it striving for quite such philosophical depth last time, or at least not doing it so well.

First He Died is yet another curiously early novel about a time war, predating Fritz Leiber's The Big Time by nearly a decade, and of course the All-New Doctor Who Comedy Slam by half a century, and whilst we're here, let's not hold back from pointing out that Asher Sutton, the novel's protagonist returns from a mysterious region of space cut off from the rest of the universe, reborn with two hearts and a secondary nervous system - not sure if that one rings any bells.

Sutton, who somehow arrives on Earth in a ship which should never have flown - the engines don't work and it isn't even airtight - discovers he will one day publish a philosophical text entitled This is Destiny which discusses the fundamental truths of existence, the universe and the place of humanity therein. The trouble is that humanity isn't going to like what he has to say, not least because of the immense influence this book will have on future history; and so war has broken out between those factions who wish to prevent Sutton writing his book, and those sympathetic. Curiously, this results in two future versions of This is Destiny, only one of which is true to Asher Sutton's vision, which in turn presents an odd parallel to the alternately titled editions of the novel we're reading; and if this weren't in itself sufficiently self-referential, Sutton travels back to 1977 in search of an ancestor and finds himself discussing the subject of his magnum opus with a character called Old Cliff:

'But destiny? you said something about destiny?'

'Interested in it, lad,' said the old man. 'Wrote a story about it once. Didn't amount to much. Used to mess around some, writing, in my early days.'

For some time I've regarded Clifford D. Simak as something like the rural Philip K. Dick, a cleaner living, more traditional counterpart to the urban paranoia of his junior, but nevertheless similar. As authors, whilst they may be worlds apart, they both speak from a blue collar perspective, telling stories of the little guy who works hard and generally tries to do the right thing; and their respective careers were in each case engaged with repeated attempts to reach a broader understanding of the universe. Dick regarded that which we experience as the universe to be possibly illusory, whereas Simak held it to be real, but perhaps ultimately beyond our comprehension. Also they both made use of a middle initial and had some of the same letters in their names...

Whereas Dick made frequent and occasionally inscrutable reference to historical philosophy, Simak kept it simpler - just a brief nod to Henry Thoreau in First He Died and the rest otherwise discussed without bringing in anything beyond that which is directly experienced by the characters of the novel.

'We've lived by faith alone,' said Sutton, ' for eight thousand years at least and probably more than that. Certainly more than that. For it must have been faith, a glimmer of some sort of faith, that made the Neanderthaler paint the shinbones red and nest the skulls so they face toward the east.'

'Faith,' said Dr. Raven gently, 'is a powerful thing.'

'Yes, powerful,' Sutton agreed, 'but even in its strength it is our own confession of weakness. Our own admission that we are not strong enough to stand alone, that we must have a staff to lean upon, the expressed hope and conviction that there is some great power which will lend us aid and guidance.'

This idea is the foundation of Simak's writing, and one which in its deceptive simplicity has probably denied him a posthumous reputation of the kind now enjoyed by Philip K. Dick. Simak writes simple, communicative sentences in the voice of occasionally somewhat homespun characters. That which Asher Sutton will one day write in his great work is likewise straightforward:

We are not alone.

No one ever is alone.

Not since the first faint stirring of the first flicker of life on the first planet in the galaxy that knew the quickening of life, has there ever been a single entity that walked or crawled or slithered down the path of life alone.

Read a little too quickly, it seems to amount to hey like we're all brothers so let's all just try to get along, mkay? but of course such would hardly require elaboration by means of an entire book; and with this arguably being Simak's first full novel - Cosmic Engineers and Empire both having been guided by John W. Campbell to varying degrees - you can tell he's really going for it, piling on all his biggest ideas, making concessions to no-one but his own conscience and hoping some sense will result; and it sort of does, or at least it did for me during this second reading.

Destiny by Simak's terms might almost be considered an inversion of all those 1950s supermen, utopian science-fiction futures with man - and it usually was quite specifically man - stood at the technological pinnacle of creation. Sutton's Destiny is more like an understanding of the equilibrium of existence, or at least its potential, with all that lives as part of an indivisible whole, and one illustration Simak provides of this is that not even a cell can be considered a single discrete organism given the presence of mitochondria. In essence, First He Died strives to communicate a quite subtle philosophical model without recourse to either religion or even the language by which it might best be communicated; and this seems to provide a glimpse of Simak's almost existential view of the universe, a view which, by the by, might also be characterised by his writing time travel as a psychological rather than temporal process - an idea later revisited in Time is the Simplest Thing in which the past is revealed to be an empty stage from which all trace of life has vanished; and all this even without getting into Asher Sutton as a man returned from death with the potential to save humanity from itself...

First He Died or whatever you want to call it is a bit of a mess in terms of traditional narrative, and yet seemed to me quite straightforward first time around, mainly due to Old Cliff's insistence on communicating everything through the medium of folks who just like to sit on the stoop awhile with their faithful hound chewing a straw and maybe getting in some whittling; but don't be deceived, these still waters run surprisingly deep.