170 Ezine Excellere English

170 Ezine Excellere english edited
170 Ezine English

Casa Juillet.
February 2016.
English ezine from Chile.
Margaret Hedda Johnson........ by Director Shaffer.

"Margaret Hedda Johnson was born in Chicago on December 9, 1900. In the early
1920s she attended the Chicago Academy of Fine Art where she studied fashion
design.
Afterwards, she became a freelance artist as a fashion illustrator for various

newspapers. She married Myron "Slim" Brundage in 1927 and they had one son,
Kerlyn. The
marriage didn't last long and they separated, leaving Margaret to care for her
child alone, as well as a mother in poor health, with little, if any, financial
support
from her husband. They divorced in 1939.
Desperate to get away from the mundane world of fashion -- and of black and
white art -- she brought her portfolio to WEIRD TALES, "the magazine of the
bizarre and
unusual", whose offices were located in Chicago. The magazine was founded by
publisher Clark Henneberger in 1923, and Farnsworth Wright took over as editor
in 1924
after former editor Edwin Baird was fired. After seeing a drawing of an Oriental
dancer, they gave her work as a cover artist for another of their titles,
ORIENTAL
STORIES, despite her limited knowledge of colour reproduction. Her first cover
was for the Summer 1932 issue. (ORIENTAL STORIES would soon be renamed THE MAGIC
CARPET;
it only ran sporadically from October 1930 to January 1934.)

She moved on to the more famous WEIRD TALES with the September 1932 issue, and
would paint a total of 66 covers for the magazine, including all nine of the
Conan
covers. One of those covers helped make the issue a sell-out. Illustrating "The
Slithering Shadow", a Conan tale by Robert E. Howard, Brundage's cover showed a
naked
blonde in bondage being whipped by a scantily-clad brunette, set against a
crimson background and exaggerated shadows.
She became the most prolific of the magazine's cover artists, with an unbroken
streak from June, 1933 to September, 1936. (There was no August issue for 1936.)
Her
lurid covers were sensational and controversial, if their letters page, “The
Eyrie”, is any indication. While fans -- and many of them were female -- didn't
object to
the nudity, some thought the covers were misrepresenting the magazine as sleazy
trash rather than as a distinguished periodical of weird fiction. But Brundage's
nude
covers sold issues, and that was all that Wright needed to know. She signed her
name "M. Brundage". This is how she was credited in the magazine until the
February
1935 issue, where her full name is given, identifying her as a woman. (This may
have been an attempt at mollifying the critics who thought the covers were
sexist and
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misogynistic.)
Brundage's fashion training all but went out the window. Occasionally she would
sneak in a pretty dress, but usually her soft-skinned heroines were either
completely
naked or covered in nothing more than a wisp of gossamer. With wide eyes and
parted lips, these damsels in peril were being menaced by monsters or
dagger-wielding
cultists; often they were in bondage being whipped by evil priestesses;

sometimes they were the ones in control, running naked through the snow with
wolves. In any
case, they were young and built like goddesses. There was little, if any,
background in the composition, but always there were sexy, shapely females to
titillate the
viewer. Actually, there was a female on all but three of Brundage's covers (the
April, May and August 1935 issues being the exceptions). Of Brundage's 66 WEIRD
TALES
covers, a dozen featured bondage and/or flagellation.
Brundage visited Farnsworth Wright at the WEIRD TALES offices at least once a
month. A particular scene from a story was chosen for her to illustrate, often
one of
bondage and sadism or with lesbian overtones, and Brundage would submit a few
pencil sketches. Wright would then choose one to be rendered for the cover. Not
surprisingly, writers would sometimes fit a bondage and whipping sequence into
their yarn hoping to make the cover.
Brundage rarely used models to work from. Occasionally a friend would pose for
the female figures, but she usually worked from the pure ether of her
imagination. She
was paid $90 per cover, always rendered in pastels, her chosen medium, and
usually measuring 20 inches in height, but with varying widths. She was rarely
asked to make
corrections and, under Wright's editorship, never asked to cover up her nudes.
"They would always pick the one with the least amount of clothing," Brundage
said.
What's more, she was asked "to make larger and larger breasts".
WEIRD TALES was sold in 1938 to a New York publisher, where the editorial
offices were also located. Dorothy McIlwraith was brought in to assist Wright.
Office
politics and health issues forced Wright to resign by 1940, and he died later
that year from Parkinson's disease. McIlwraith became the new editor.
Because Brundage could no longer deliver the artwork in person it had to be

shipped, which meant she had to create covers in much less time. This, coupled
with the
fact that the pastels would smear during shipping causing a need for corrections
and more shipping, marked the end of Brundage's reign as leading cover artist
for the
magazine. She made one attempt at oils, which the editors didn't like, and after
the October 1938 issue she only did eight more WEIRD TALES covers, the last
being for
the January 1945 issue. (She did no covers for the 1939 issues.) The magazine
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went to bi-monthly status after 1939, so even if she had remained Queen of the
Pulps her
earnings would have been halved. In the late 1930s under new ownership the
covers were no longer risque. Wright's two other discoveries, Virgil Finlay and
Hannes Bok,
both amazing artists, were on hand to provide technically proficient and bizarre
covers (respectively), and help bring the magazine back to its weird roots. The
magazine continued until September 1954.
Brundage, one of the few women artists working for pulp magazines, lived mostly
in obscurity and poverty. She continued painting and gave some brief interviews
in the
1970s. She died April 9, 1976, predeceased by her son, who died in 1972.
Her covers for Weird Tales are highly valued by collectors, and the originals
sell for large sums at auction. The cover for the September 1932 issue of Weird
Tales
(her first for that magazine) sold for $50,000 in 2008, and in 2010 the cover
for the January 1936 issue sold for $37,000. Often overlooked, often underrated,
the best
of Margaret Brundage's pastel covers for the pulps deserve to be hanging in
museums!"
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The Outlaw Josey Wales is one of my all-time favorite Western movies with one of
the classic cinematic dialogue exchanges:
Bounty hunter: You're wanted, Wales.
Josey Wales: Reckon I'm right popular. You a bounty hunter?
Bounty hunter: A man's got to do something for a living these days.
Josey Wales: Dyin' ain't much of a living, boy.
Forrest Carter was apparently a violent, racist, miserable excuse for a human
being. He once shot two fellow Klansmen over an argument about money. He
allegedly died
as violently as he had lived, from a heart attack after a fistfight with his
son.
Is it possible to separate the life of an author from their literary creations?
Read the biographical sketch of Forrest Carter and decide for yourself.
1. Gone To Texas. By Forrest Carter ([New York]: Delacorte Press / Eleanor
Friede, [1975]) (206 pages)
The Rebel Outlaw: Josey Wales is a 1973 American Western novel written by
Forrest Carter that was adapted into the film The Outlaw Josey Wales directed by
and starring
Clint Eastwood.
It was originally published in hardcover in 1973 by a small publishing firm in

Gantt, Alabama, Whipporwill Publishers. It is believed that only 75 copies of
the 1973
First Edition were ever published (one of which was sent by the author to Clint
Eastwood unsolicited, which led to the film adaptation) so it is quite a rare
book
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today. Only one copy is currently for sale on the major used book sites, priced
at $7,500. The novel was republished in hardcover in 1975 by Delacorte Press /
Eleanor
Friede under the title Gone To Texas.

Plot Synopsis:
Josey Wales, a Missouri farmer, seeks vengeance when his family is murdered by a
gang of Union militants during the American Civil War.
From the dust jacket:

"Josey Wales lost his young wife and child to...Civil War destruction and, like
Jesse James and other young farmers, joined the guerrilla soldiers of
Missouri—men with
no cause but survival and no purpose but revenge.
A hunted fugitive with a price on his head and bands of cavalry and bounty
hunters on his trail, Josey and a Cherokee friend, Lone Watie, set out for the
West through
the dangerous Comanchero territory. Hiding by day, traveling by night, they are
joined by an Indian woman named Little Moonlight, and rescue an old woman and
her
granddaughter from their besieged wagon. Now there are five of them, bonded for
survival, moving southward to Texas, winning through a brash and honest violence
the
surprise chance for a new way of life."
"Forrest Carter's novel is a moving, exciting story about real characters who
come alive on every page. His plot has the ring of authenticity. The sequence
with Ten
Bears is an unforgettable and suspenseful reading experience. In fact, I liked

the entire book so much that I have bought it for my next starring
vehicle."—Clint
Eastwood.
"Gone To Texas is hard to put down as a novel of the West. As true American
history, which it is, there's no putting it down at all."—
Richard Bach, author of Jonathan Livingston Seagull.
"Authentic in detail, exciting, stark, brutal, with uncompromising

reality..."—Historical Book Society.
2. The Vengeance Trail Of Josey Wales. By Forrest Carter ([New York]: Delacorte
Press / Eleanor Friede, [1976]) (202 pages)
About The Movie:
The Outlaw Josey Wales is a 1976 American revisionist Western DeLuxe Color and
Panavision film set during and after the American Civil War. It was directed by
and
starred Clint Eastwood (as the eponymous Josey Wales), with Chief Dan George,
Sondra Locke, Sam Bottoms, and Geraldine Keams. The film tells the story of
Josey Wales,
a Missouri farmer whose family is murdered by Union militants during the Civil
War. Driven to revenge, Wales joins a Confederate guerrilla band and fights in
the Civil
War. After the war, all the fighters in Wales' group except for Wales surrender
to Union officers, but they end up being massacred. Wales becomes an outlaw and
is
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pursued by bounty hunters and Union soldiers.
The film was adapted by Sonia Chernus and Philip Kaufman from author Forrest
Carter's 1973 novel The Rebel Outlaw: Josey Wales (republished, as shown in the
movie's
opening credits, as Gone To Texas). Forrest Carter was an alias assumed by Asa
Carter: a former Ku Klux Klan leader, a speechwriter for George Wallace, and
later an
opponent of Wallace for Governor of Alabama on a white supremacist platform. In
1996, the film was selected for preservation in the National Film Registry of
the
Library of Congress. The film was a commercial success, earning $31.8 M against
a $3.7 M budget.
Josey Wales was portrayed by Michael Parks in the 1986 sequel to the film The
Return Of Josey Wales.
About The Author:

Asa Earl Carter (September 4, 1925 – June 7, 1979) was a Ku Klux Klan leader,
segregationist speech writer, and later western novelist. He co-wrote George
Wallace's
well-known pro-segregation line, "Segregation now, segregation tomorrow,

segregation forever", and ran for governor of Alabama on a segregationist
ticket. In addition,
under the alias of supposedly Cherokee writer Forrest Carter, he wrote The Rebel
Outlaw: Josey Wales (1972), a novel that led to a 1976 National Film Registry
film and
The Education Of Little Tree (1976), a best-selling, award-winning book which

was marketed as a memoir but which turned out to be fiction.
In 1976, following the success of his Western novel The Rebel Outlaw: Josey
Wales (1972) and its 1976 film adaptation, The New York Times revealed Forrest
Carter was
actually southerner Asa Earl Carter. His background became national news again
in 1991 after his purported memoir, The Education Of Little Tree (1976), was
re-issued
in paperback, topped the Times paperback best-seller lists (both non-fiction and
fiction), and won the American Booksellers Book of the Year (ABBY) award.
Prior to his literary career as "Forrest", Carter was politically active for
years in Alabama as an opponent of the civil rights movement: he worked as a
speechwriter
for segregationist Governor George Wallace of Alabama, founded the North Alabama
Citizens Council (NACC) – an independent offshoot of the White Citizens' Council
movement – and an independent Ku Klux Klan group, and started a pro-segregation

monthly, titled The Southerner.
Asa Carter was born in Oxford, Alabama in 1925, the second eldest of four
children. Despite later claims (as author "Forrest" Carter) that he was
orphaned, he was
raised by his parents Ralph and Hermione Carter in nearby Oxford, Alabama. Both
parents lived into Carter's adulthood.
Carter served in the United States Navy during World War II and for a year
studied journalism at the University of Colorado on the G.I. Bill. After the
war, he married
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India Thelma Walker. The couple settled in Birmingham, Alabama and had four
children.
Carter worked for several area radio stations before ending up at station WILD
in Birmingham, where he worked from 1953 to 1955. Carter's broadcasts from WILD,
sponsored by the American State's Rights Association, were syndicated to more

than 20 radio stations before the show was cancelled. Carter was fired following
community outrage about his broadcasts and a boycott of WILD. Carter broke with
the leadership of the Alabama Citizen's Council movement over the incident. He
refused
to tone down his anti-Semitic rhetoric, while the Citizen's Council preferred to
focus more narrowly on preserving racial segregation of Blacks.
Carter started a renegade group called the North Alabama Citizen's Council. In
addition to his careers in broadcasting and politics, Carter during these years
ran a
filling station. By March 1956, he was making national news as a spokesman for
segregation. Carter was quoted in a UP newswire story, saying that the NAACP had
"infiltrated" Southern white teenagers with "immoral" rock and roll records.
Carter called for jukebox owners to purge all records by black performers from
jukeboxes.
Carter made the national news again on September 1 and 2 of the same year, after
he gave an inflammatory anti-integration speech in Clinton, Tennessee. He
addressed
Clinton's high school enrollment of 12 black students, and after his speech an
aroused mob of 200 white men stopped black drivers passing through, "ripping out
hood
ornaments and smashing windows". They were heading for the house of the mayor
before being turned back by the local sheriff. Carter appeared in Clinton
alongside
segregationist John Kasper, who was charged later that same month with sedition
and inciting a riot for his activities that day. Later that year, Carter ran for
Police
Commissioner against former office holder Bull Connor, who won the election.
Connor later became nationally famous for his heavy-handed approach to law
enforcement
during the civil rights struggles in Birmingham.
In 1957, Carter and his brother James were jailed for fighting against
Birmingham police officers. The police were trying to apprehend another of the
six in their
group, who was wanted for a suspected Ku Klux Klan (KKK) shooting. Also during
the mid-1950s, Carter founded a paramilitary KKK splinter group, called the
"Original Ku
Klux Klan of the Confederacy". Carter started a monthly publication entitled The
Southerner, devoted to purportedly scientific theories of white racial
superiority, as
well as to anti-communist rhetoric.
Members of Carter's new KKK group attacked singer Nat King Cole at an April 1956
Birmingham concert. After a more violent event, four members of Carter's Klan
group
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were convicted of a September 1957 abduction and attack on a black handyman
named Judge Edward Aaron. They castrated Aaron, poured turpentine on his wounds,
and left
him abandoned in the trunk of a car near Springdale, Alabama. Police found
Aaron, near death from blood loss. (Carter was not with the men who carried out
this
attack). In 1963, a parole board, appointed by Carter's then-employer Alabama

governor George Wallace, commuted the sentences of the four men convicted of
attacking
Aaron.
In 1958, Carter quit the Klan group he had founded after shooting two members in
a dispute over finances. Birmingham police filed attempted murder charges
against
Carter, but the charges were subsequently dropped. Carter also ran a campaign
for Lieutenant Governor the same year that saw him finish fifth in a field of
five.
During the 1960s, Carter was a speechwriter for Wallace. He was one of two men
credited with Wallace's famous slogan, "Segregation now, segregation tomorrow,
segregation forever", part of Wallace's 1963 inaugural speech. Carter continued
to work for Wallace, and after Wallace's wife Lurleen was elected Governor of
Alabama
in 1966, Carter worked for her. Wallace never acknowledged the role Carter
played in his political career, however:
Till the day he died, George Wallace denied that he ever knew Asa Carter. He may
have been telling the truth. 'Ace', as he was called by the staff, was paid off
indirectly by Wallace cronies, and the only record that he ever wrote for
Wallace was the word of former Wallace campaign officials such as finance
manager Seymore
Trammell.
When Wallace decided to enter national politics with a 1968 presidential run, he
did not invite Carter on board for the campaign, as he sought to tone down his
reputation as a segregationist firebrand. During the late 1960s, Carter grew

disillusioned by what he saw as Wallace's liberal turn on race.
Carter ran against Wallace for governor of Alabama in 1970 on a white

supremacist platform. Carter finished last in a field of five candidates,
winning only 1.51% of
the vote in an election narrowly won by Wallace over the more moderate Governor
Albert Brewer. At Wallace's 1971 inauguration, Carter and some of his supporters
demonstrated against him, carrying signs reading "Wallace is a bigot" and "Free
our white children". The demonstration was the last notable public appearance by
"Asa
Carter".
After losing the election, Carter relocated to Abilene, Texas, where he started
over. He began work on his first novel, spending days researching in
Sweetwater's
public library. He distanced himself from his past, began to call his sons
"nephews", and renamed himself Forrest Carter, after Nathan Bedford Forrest, the
first Grand
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Wizard of the Ku Klux Klan and a general of the Confederate army who fought in
the Civil War.
Carter moved to St. George's Island, Florida in the 1970s where he completed a
sequel to his first novel, as well as two books on American Indian themes.
Carter
separated from his wife, who remained in Florida. In the late 1970s, he again
settled in Abilene, Texas.
Carter's best-known fictional works are The Rebel Outlaw: Josey Wales (1973,
republished in 1975 as Gone To Texas) and The Education Of Little Tree (1976),
originally
published as a memoir. The latter sold modestly – as fiction – during Carter's

life; it became a sleeper hit in the late 1980s and throughout the 1990s.
Clint Eastwood directed and starred in a film adaptation of Josey Wales,
retitled The Outlaw Josey Wales (1976), after Carter sent the book to his
offices as an
unsolicited submission, and Eastwood's partner read and put his support behind
it. At this time, neither man knew of Carter's past as a Klansman and rabid
segregationist. In 1997, after the success of the paperback edition of The

Education Of Little Tree, a film adaptation of the second book was produced.
Originally
intended as a made-for-TV movie, it was given a theatrical release.
In 1976, Carter published the sequel to The Rebel Outlaw: Josey Wales, entitled
The Vengeance Trail Of Josey Wales which Clint Eastwood planned to film as a
sequel to
The Outlaw Josey Wales, but the project was eventually cancelled.
In 1978, Carter published Watch For Me On The Mountain, a fictionalized

biography of Geronimo. It was reprinted in 1980 in an edition titled, Cry
Geronimo!
Carter spent the last part of his life trying to conceal his background as a
Klansman and segregationist, claiming categorically in a 1976 The New York Times
article
that he, Forrest, was not Asa Carter. The article details how as Forrest, Carter
was interviewed by Barbara Walters on the Today show in 1974. He was promoting
The
Rebel Outlaw: Josey Wales, which had begun to attract readers beyond the
confines of the Western genre. Carter, who had run for a campaign for governor
of Alabama (as
Asa Carter) just four years earlier in a campaign which included television
advertising, was identified from this Today show appearance by several Alabama
politicians,
reporters and law enforcement officials. The Times also reported that the
address Carter used in the copyright application for The Rebel Outlaw was
identical to the
one that he used in 1970 while running for governor. “Beyond denying that he is
Asa Carter”, the Times noted, “the author has declined to be interviewed on the
subject.”
When the story of Carter’s deception hit the news, it was inevitable that Clint
Eastwood would be drawn into the controversy. From Clint Eastwood: A Biography
by
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Richard Schickel, published by Alfred A. Knopf New York 1996:
"Clint was on location, making Unforgiven, when this article appeared, and he
sent a polite letter to the Times, pointing out that he had met the man he knew
as
Forrest Carter only once. He also observed, “If Forrest Carter was a racist and
a hatemonger who later converted to being a sensitive, understanding human
being, that
would be most admirable.”"
But maybe that wasn’t the case either — or possibly Eastwood was being
diplomatic. Schickel also relates that Clint’s producer on Josey Wales, Bob
Daley saw another
side to Carter:
"He saw a decent side to the man, reflected in warm, supportive letters he
received from Carter on the death of his father. He also saw vicious
anti-Semitism, directed
at William Morris agents, when the arguments about money started up. He finally
came to the conclusion that Carter was basically an opportunist, willfully
burying –
but not necessarily abandoning – his racism so that he could rejoin decent
society."
Carter was working on The Wanderings Of Little Tree, a sequel to The Education
Of Little Tree, as well as a screenplay version of the book, when he died in
Abilene on
June 7, 1979. The cause of death, reported as heart failure, was alleged to have
resulted from a fistfight with his son. Carter's body was returned to Alabama
for
burial near Anniston.
No one will ever know what Carter’s thoughts and attitudes really were, whether
he was, as Clint Eastwood thought, "a hatemonger who later converted to being a
sensitive, understanding human being." But the evidence, such as his public
denial that he was Asa Earl Carter, would support Daley’s claim that he was an
opportunist,
whose attitudes could and would be put to the side where financial gain was
concerned.
But having said that, as the popularity of the books would attest, Carter was a
good writer who wrote stories that were not racist, and depicted Indians in a
light
that had never really been seen in main stream fiction at that time.
Carter is certainly an enigma. And despite what his actual beliefs may have
been, there is no denying that Gone To Texas is a great western story, and a
thoroughly
entertaining read.
Fantastic Planets. By Jean-Claude Suares And Richard Siegel. Text By David Owen
([Danbury, NH: Reed Books (a division of Addison House, Inc.), 1979]) (160
pages)
Fantastic Planets is a pictorial book on science fiction in movies and tv, in

comics, and in literature. It was originally published simultaneously in both
hardcover
and large format trade paperback in 1979 by Reed Books. It's profusely
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illustrated with 54 color photographs and 138 black & white photographs,
including a few
reproductions of pulp covers and illustrations.
From the dust jacket:

"They've landed! They've landed!" With the initial panic over, the burning
question is, "Where did They come from?" The authors of Alien Creatures now take
you on an
incredible visual journey to the planets and galaxies that spawned them.
As the mysteries of our own earth become yesterday's news, Man seeks other homes
where human and other life exist. His unquenchable thirst for the Unknown has
compelled him to turn his eyes to the heavens, and his imagination toward the
enigma of the Universe.
These flights of fancy take place on huge and powerful spaceships. Melodramatic
landings in the Moon's eye, dangerous visits to Mars with Flash Gordon, the
Moon's
enigmatic monolith, Barbarella's city, the Forbidden Planet, skies full of suns
and moons that shine upon ominous deserted places, all reached at speeds where
time and
space stand still. But where does speculation end and reality begin?
As we near the 21st Century, science at last seems to be catching up with the
fabulous creations of SF literature and cinema, but the NASA spacecraft that
have
traveled to the Moon, Venus, Mars, and beyond seem but dull imitations of the
marvelous visions of Jules Verne and H. G. Wells, brought brilliantly to life by
George
Melies, Stanley Kubrick, Steven Spielberg, and George Lucas.
Will we really find Cylons and other dastardly intergalactic armies with whom to
do battle in the eternal struggle of good vs. evil? Movies, television,and
comics
shout a resounding, "Yes!"

Find out for yourselves! Travel at the speed of light with Richard Siegel, J-C
Suares, and David Owen as they reveal the Moon, Mars, the rest of the Solar
System, and
the Great Beyond, on a journey you won't soon forget."

About Jean-Claude Suares:
Jean-Claude Suares (March 30, 1942 – July 30, 2013) was an artist, illustrator,
editor, and creative consultant to many publications, and the first Op-Ed page
art
director at The New York Times.

Suares was born on March 30, 1942, in Alexandria, Egypt, to a Sephardic father.
He and his family moved from Egypt to Italy when he was a teenager. Later, he
moved to
New York, where he briefly attended Pratt Institute. In the 1960s, he joined the
U.S. Army paratroopers and was sent to Vietnam, where he worked on staff for
Stars and
Stripes. He also spoke several languages. In 1973, Suares arranged an exhibition

of Op-Ed art at the Musée des Arts Décoratifs in Paris. For over 30 years his
comic
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drawings appeared in The New York Times, on the covers of The New Yorker and The
Atlantic Monthly, and in other periodicals and books. He wrote, edited or
designed
scores of illustrated books. He was also involved in book publishing. He worked
with Jacqueline Kennedy Onassis at Doubleday. He also designed Michael Jackson’s
autobiography, Moonwalk. Suares was in one movie in 1973, It Happened In

Hollywood.
A resident of Harrington Park, New Jersey, Suares died on July 30, 2013, at
Englewood Hospital and Medical Center in Englewood, New Jersey as a result of a
bacterial
infection. He was 71.
About Richard Siegel:

Richard Siegel (1955-) is an American illustrator, comics artist, filmmaker, and
author. He is the author of the SF novel Alien Plague (1979), under the
pseudonym
Stephard Noir, in which a medical Disaster is sourced to the Outer Planets.
Under his own name, he is best known for an SF satire framed as a
photo-documentary, The
Extraterrestrial Report: The First Fully Documented Account Exposing The Awful
Danger From Beyond (A & W Visual Library, 1978), which spoofs various paranoias,
including UFO "sightings". More recently, from 2005 to 2007, Siegel contributed
several sf spoofs to the Weekly World News.
ooooooooo
Alfredo Juillet Frascara, 71 years. He was born in Santiago de Chile, May 30
1944, is a Chilean painter, author and sculpturer. He is the author of the SF
novel
"Jaukmoon", "Mars", "Knapp", and many others. He currently lives in the field,
still working in his projects, and the last novel is "Kenate", where the action
happens
in the Second Brana. Some of his works appears in Scribd.
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The Williamson Effect. [Original Stories In Tribute To Grand Master Jack

Williamson]. Edited By Roger Zelazny. [Introduction By David Brin] (New York:
Tor (A Tom
Doherty Associates Book), [1997]) (349 pages) (Cover art by Nicholas Jainschigg)
The Williamson Effect is an original anthology of fifteen SF short stories and

one poem, about or inspired by science fiction Grand Master Jack Williamson
(1908-2006).
It was originally published in hardcover in 1996 by Tor. This 1997 Tor edition
marked its first appearance in paperback.
SF author Roger Zelazny (1937-1995), winner of six Hugo and three Nebula awards
and the editor of this collection, died of cancer on June 14, 1995. Before his
death,
he had completed the majority of the editorial work for The Williamson Effect.
In keeping with the tradition Zelazny had established as editor for other
collections,
Jim Frenkel provided short introductions for each story. Jane Lindskold assisted
with tying up loose ends and coordinating the collection for publication.
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From the back cover:
"A TRIBUTE TO JACK WILLIAMSON - THE DEAN OF MODERN SCIENCE FICTION.
WITH AN INTRODUCTION BY DAVID BRIN,THE WILLIAMSON EFFECT INCLUDES ALL ORIGINAL
SHORT STORIES, WITH AFTERWORDS, COMMISSIONED ESPECIALLY FOR THIS BOOK, FEATURING
SUCH
ENTHRALLING TALES AS:
"The Bad Machines" by Fred Sabertiagen: an unlucky crew is caught between the
Humanoids and the Berserkers...
"The Mayor Of Mare Tranq" by Frederik Pohl: see Jack Williamson himself become a
real American hero...
"Nonstop To Portales" by Connie Willis: the story of a strange bus tour that
changes one man's life...
"Inside Passage" by Poul Anderson: a chilling sequel to Williamson's seminal

fantasy, Darker Than You Think...
"Thinkertoy" by John Brunner: a gripping homage to Williamson's classic work of

robots gone wild, The Humanoids...
"On looking back over his long and influential career, I have no hesitation in
placing Jack Williamson on a level with the two other American giants, Isaac
Asimov and
Robert Heinlein."—Arthur C. Clarke.

"Any fan of Williamson, or of science fiction for that matter, will thoroughly
enjoy The Williamson Effect."—The Post and Courier, Charleston, South Carolina.
CONTENTS:
The Williamson Effect ed. Roger Zelazny (Tor 0-312-86395-0, Dec ’97 [Nov ’97],
$15.95, 349pp, tp, cover by Nicholas Jainschigg) Original anthology of 15
stories and
one poem, about or inspired by Jack Williamson, with an introduction by David

Brin. Authors include Frederik Pohl, Poul Anderson, Connie Willis, and Andre
Norton.
13 · Introduction: A World In Love With Change · David Brin · in *
21 · The Mayor Of Mare Tranq · Frederik Pohl · ss *
36 · Before The Legion · Paul Dellinger · nv *
61 · Inside Passage · Poul Anderson · nv *
90 · Risk Assessment · Ben Bova · nv *
116 · Williamson’s World · Scott E. Green · pm *
117 · Emancipation · Pati Nagle · nv *
146 · Thinkertoy · John Brunner · ss *
163 · The Bad Machines · Fred Saberhagen · nv *
190 · The Human Ingredient · Jeff Bredenberg · ss *
207 · Child Of The Night · Jane Lindskold · ss *
223 · A Certain Talent · David Weber · nv *
246 · Nonstop To Portales · Connie Willis · nv *
275 · No Folded Hands · Andre Norton · ss *
289 · Darker Than You Wrote · Mike Resnick · ss *
295 · Near Portales... Freedom Shouts · Scott E. Green · pm *
296 · Worlds That Never Were: The Last Adventure Of The Legion Of Time · John J.
Miller · na *
343 · About the Contributors · Misc. · bg
oooooooooooo
HENRY KING.
Henry King, Director: From Silents To Scope - Henry King (1995)
Henry King, Director: From Silents To Scope. By Henry King. Based On Interviews
By David Shepard And Ted Perry. Edited By Frank Thompson (A Directors Guild of
America
Página 12
Publication in association with the Giornate del Cinema Muto([Los Angeles, CA]:
Directors Guild of America, Inc., [1995])
Henry King, Director: From Silents To Scope is an autobiography of Hollywood
director Henry King (1886-1982), compiled from a series of interviews with him
which were
conducted between 1976 and 1981.
From the Editor's introduction:
"In this book, Henry King talks at length and in great detail about his life and
career, which spanned virtually the entire history of American cinema. ("I'm a
pioneer," King Vidor once told Kevin Brownlow. "I've been in this business for
years. But even when I first got to Hollywood,
Henry King was going strong.") He worked within nearly every conceivable kind of
filmmaking style: from the filmed-on-location shorts for Lubin in the Teens to
the
foreign epics of the Twenties like The White Sister (1923) and Romola (1924,
both filmed in Italy), to the glossy cinema of the Twentieth Century-Fox factory
in the
Thirties, Forties and Fifties....

Henry King never wrote an autobiography but he was interviewed in great depth
several times later in his life. The Directors Guild of America, having
commissioned some
of these interviews, elected to, in effect, construct an autobiography from

them.
King's words in this book are drawn from two sources: a series of interviews
with King between 1976 and 1981 by film historian David Shepard; and a lengthy
oral
history conducted by Ted Perry in 1976. As editor, the task of turning this
mountain of conversation into a book seemed straightforward enough. I was to
take well over
a thousand pages of interviews and transform them into a first person narrative,
as though King were telling the story of his life and career independent of an
interviewer....
I hope that the reader will find this informal visit with King as fascinating
and informative as I have. His storytelling style is rather like his directorial
technique: simple, uncluttered and workmanlike, but filled with details of

character and incident that make the stories come alive. For such a prolific
artist, King
was a remarkably personal filmmaker, drawing on details and emotions from his
own past to bring his pictures to life."
About Henry King:
Henry King (January 24, 1886 – June 29, 1982) was an American film director, who
was born in Christiansburg, Virginia.He waa active as a director from 1916 to
1962,
directing many well-known films including Jesse James, The Song Of Bernadette,
Twelve O'Clock High, and Carousel (see Filmography below).
Before coming to film, King worked as an actor in various repertoire theatres,

and first started to take small film roles in 1912. He directed for the first
time in
Página 13
1915, and grew to become one of the most commercially successful Hollywood
directors of the 1920s and 1930s. He was twice nominated for the Best Director
Oscar. In
1944, he was awarded the first Golden Globe Award for Best Director for his film
The Song Of Bernadette. He worked most often with Tyrone Power and Gregory Peck
and
for 20th Century Fox.
Henry King was one of the 36 founders of the Academy of Motion Picture Arts and
Sciences, which awards excellence of cinematic achievements every year, and was
the
last surviving founder. He directed over 100 films in his career.

In 1955, King was awarded The George Eastman Award, given by George Eastman
House for distinguished contribution to the art of film.
During World War II, King served as the deputy commander of the Civil Air Patrol
coastal patrol base in Brownsville, TX, holding the grade of captain. In his
final
years, he was the oldest licensed private pilot in the United States, having
obtained his license in 1918.
FILMOGRAPHY:
1916 - Little Mary Sunshine
1917 - The Mate Of The Sally Ann
1918 - Powers That Prey
1918 - Social Briars
1919 - Where The West Begins
1920 - One Hour Before Dawn
1921 - Tol'able David
1922 - The Seventh Day
1923 - Fury
1923 - The White Sister
1924 - Romola
1925 - Stella Dallas
1926 - The Winning Of Barbara Worth
1926 - Partners Again
1927 - The Magic Flame
1928 - The Woman Disputed
1930 - Hell Harbor
1930 - Lightnin'
1931 - Merely Mary Ann
1931 - Over The Hill
1933 - State Fair (uncredited)
1933 - I Loved You Wednesday
1934 - Marie Galante
1935 - One More Spring
1935 - Way Down East
1936 - The Country Doctor
1936 - Ramona
1936 - Lloyd's of London
1937 - Seventh Heaven
1937 - In Old Chicago
1938 - Alexander's Ragtime Band
1939 - Jesse James
1939 - Stanley And Livingstone
1940 - Little Old New York
1940 - Maryland
1940 - Chad Hanna
1941 - A Yank In The RAF
1941 - Remember The Day
1942 - The Black Swan
1943 - The Song Of Bernadette
1944 - Wilson
1945 - A Bell For Adano
Página 14
1946 - Margie
1947 - Captain From Castile
1948 - Deep Waters
1949 - Prince of Foxes
1949 - Twelve O'Clock High
1950 - The Gunfighter
1951 - I'd Climb The Highest Mountain
1951 - David And Bathsheba
1952 - The Snows Of Kilimanjaro
1953 - King of the Khyber Rifles
1955 - Untamed
1955 - Love Is A Many-Splendored Thing
1956 - Carousel
1957 - The Sun Also Rises
1958 - The Bravados
1959 - This Earth Is Mine
1959 - Beloved Infidel
1962 - Tender Is The Night
oooooooooooooooooooooooo
A Lost World wanna be starring Cesar Romero (aka the Joker), Chick Chandler,
Hugh Beaumont (played Ward Cleaver on Leave it to Beaver), John Hoyt (Star Trek,
TOG
Pilot, The Twilight Zone, Voyage to the Bottom of the Sea, Outer Limits, and
many TV shows),and Whit Bissell (known for playing General Heywood Kirk in The
Time
Tunnel) and comic relief provided by Sid Melton ( many bit parts in Adventures
of Superman, I Dream of Jeannie, The Dick Van Dyke Show, and as Captain
Midnight's
sidekick ( 1950's kid show).
Basically, a group of 5 men, led by Maj. Joe Nolan (Cesar Romero) trek after a
lost rocket that has crash landed on a remote South Pacific Island. There they
crash
land and find a rather large mountain where their instruments indicate the
rocket may be. After a tedious climb, they find (surprise) a lost continent
complete with
Brontosauri and Triceratopses. After finding the rocket, they climb back down
the mountain, the whole place explodes and they escape in a canoe.
This is one of the best B SF movies ever, that is to say, it's so bad it's good.
BTW the special effects were done by Augie Lohman, noted for many B movie
specials (including Barbarella) His techniques were reminiscent of the
animation by Willis
O'Brien (King Kong, Mighty Joe Young, The Lost World (1925 version). and his
protege Ray Harryhausen (Jason and the Argonauts, The 7th Voyage of Sinbad,
Clash of
Titans).
oooooooooooo
------------------------------------------------
When you read an article about Syria in the Western media, always remember:
1. Regime = Syrian legitimate Govt
2. Brutal Dictator Assad = Syrian legitimate President Bashar Al Assad
3. Regime forces = Syrian National Army
4. Regime loyalists = Syrian civilians defending their villages
Página 15
5. Regime supporters = All non jihadist Syrian citizens
6. Moderate opposition = terrorists who kill Syrians for regime change
7. Rebels = Saudi Arabia and Western backed terrorists
8. Activists = One man based in the UK who is an ex convict in Syria
9. Pro Regime militia = Hezbollah and Syrian fighters helping the Syrian Army
against rebels
10. Assad regime = The Syrian administration led by President Bashar Assad.
11. Freedom fighters = Multi national terrorists working together for government
change in Syria?
................................
Science Fiction Greats was no exception. It began publication in 1965 as Great

Science Fiction. It became Science Fiction Greats with issue #13 in 1969, then
became SF
Greats Magazine for issue #18 in 1970, then became SF Greats for the rest of its
run from issues #19 to #21, publishing its final issue in Spring 1971.
CONTENTS:
Science Fiction Greats v01n13 [1969-Winter] (Ultimate Publishing Co., 50¢,
132pp, digest)
fep • Robert Silverberg Issue: An Editorial • (1969) • essay by Robert
Silverberg
4 • Guardian Of The Crystal Gate • (1956) • novelette by Robert Silverberg
(Originally published in Fantastic, August 1956)
4 • Guardian Of The Crystal Gate (reprint) • (1969) • interior artwork by
uncredited
30 • The Happy Unfortunate • (1957) • short story by Robert Silverberg
(Originally published in Amazing Stories, December 1957)
31 • The Happy Unfortunate • (1957) • interior artwork by Llewellyn
49 • Cartoon: "We interrupt this program to bring you an important
bulletin!" • (1957) • interior artwork by Frosty
50 • Hole In The Air • (1956) • short story by Robert Silverberg (Originally
published in Amazing Stories, January 1956)
51 • Hole In The Air (reprint) • (1969) • interior artwork by Virgil Finlay
61 • Look Homeward, Spaceman • (1956) • short story by Robert Silverberg
(Originally published in Amazing Stories, August 1956, as Calvin Knox)
63 • Look Homeward, Spaceman (reprint) • (1969) • interior artwork by
Llewellyn
74 • O' Captain, My Captain • (1956) • short fiction by Robert Silverberg
(Originally published in Fantastic, August 1956, as Ivar Jorgensen)
74 • O' Captain, My Captain (reprint) • (1969) • interior artwork by Virgil
Finlay
83 • Cartoon: "I wonder who the center one's for?" (reprint) • (1969) •
interior artwork by uncredited
84 • The Lunatic Planet • (1957) • short story by Robert Silverberg
(Originally published in Amazing Stories, November 1957)
85 • The Lunatic Planet (reprint) • (1969) • interior artwork by uncredited
99 • Cartoon: "It's nice we can make a little spending money while here on
Earth." • (1957) • interior artwork by Frosty
100 • Call Me Zombie! • (1957) • short story by Robert Silverberg
(Originally published in Fantastic, August 1957)
101 • Call Me Zombie! • (1957) • interior artwork by Llewellyn
111 • Vault Of The Ages • (1956) • short story by Robert Silverberg
(Originally published in Amazing Stories, August 1956)
111 • Vault Of The Ages (reprint) • (1969) • interior artwork by Novick
119 • The Blue Plague • (1957) • short story by Robert Silverberg
(Originally published in Amazing Stories, July 1957)
130 • Cartoon: "I had a feeling the authorities would question us sooner or
later." • (1957) • interior artwork by Frosty
bep • Cartoon: "She wants us to put her in orbit. She says she needs the
publicity." (reprint) • (1969) • interior artwork by Frosty
bep • Cartoon: "I've tried everything–maybe it's atmosphere they need."
(reprint) • (1969) • interior artwork by Frosty
CONTENTS:
Science Fiction Greats v01n15 [1969-Summer] (Ultimate Publishing Co., 50¢,
132pp, digest)
Página 16
2 • The Protector • (1962) • interior artwork by Virgil Finlay
4 • Before Eden • (1961) • short story by Arthur C. Clarke (Originally
published in Amazing Stories, June 1961)
4 • Before Eden • (1961) • interior artwork by Virgil Finlay
16 • Speed-Up! • (1964) • novelette by Christopher Anvil (Originally
published in Amazing Stories, January 1964)
16 • Speed-Up! • (1964) • interior artwork by Dan Adkins
38 • Speed-Up! [2] • (1964) • interior artwork by Dan Adkins
43 • Arena Of Decisions • (1964) • short story by Robert F. Young
(Originally published in Amazing Stories, March 1964)
43 • Arena Of Decisions • (1964) • interior artwork by George Schelling [as
by Schelling ]
52 • Arena Of Decisions [2] • (1964) • interior artwork by George Schelling
[as by Schelling ]
55 • Arena Of Decisions [3] • (1964) • interior artwork by George Schelling
[as by Schelling ]
62 • The Protector • (1962) • short story by John Jakes (Originally
published in Amazing Stories, May 1962)
62 • The Protector [2] • (1962) • interior artwork by Virgil Finlay
74 • Cartoon: "I warned you against going in there!" • (1957) • interior
artwork by Frosty
74 • Cartoon: no caption • (unknown) • interior artwork by Frosty
75 • Speech Is Silver • (1965) • short story by John Brunner (Originally
published in Amazing Stories, April 1965)
90 • Calling Dr. Clockwork • (1965) • short story by Ron Goulart (Originally
published in Amazing Stories, March 1965)
99 • Ready, Aim, Robot! • (1959) • novelette by Randall Garrett (Originally
published in Amazing Science Fiction Stories, July 1959)
99 • Ready, Aim, Robot! • (1959) • interior artwork by uncredited
120 • The Traveling Couch • (1959) • short story by Henry Slesar (Originally
published in Amazing Science Fiction Stories, August 1959)
127 • The Traveling Couch • (1959) • interior artwork by Leo Summers [as by
Summers ]
131 • Cartoon: "He's the first one we've seen with a tail." • (1958) •
interior artwork by Frosty
131 • Cartoon: "Maybe it's hungry." • (1957) • interior artwork by Frosty
00000000000000
Discovering Comics. By Denis Gifford (Tring, Herts., UK: Shire Publications,

[1971]) (63, [1] pages)
Denis Gifford (26 December 1927 – 18 May 2000) was a British writer,
broadcaster, journalist, prolific comic artist and writer (most active in the
1940s, 50s and 60s,
and an historian of film, comics, television, and radio. Gifford's work was
largely for humor strips in British comics, often for L. Miller & Son. He was a
highly
influential comics historian, particularly of British comics from the 19th
century to the 1940s.
Gifford was also a committed comic collector of British and US comics, and owned
what has been called the "world's largest collection of British comics."
Gifford's collection was the product of his lifelong passion for comics and
popular culture, and his highly prolific research work was an attempt to provide
a
comprehensive history of the ephemeral. Particularly in the early decades of his
writing on the subject, pop culture drew little attention from academic research
and
Gifford was particularly passionate about the most obscure examples of vintage
comics, film, television and radio, and determined that they should be
Página 17
recognized,
chronicled and remembered before extant copies were lost.

Despite his hopes that his vast collection might form the basis of a national
museum of comics, through an archive such as the Victoria and Albert Museum
National Art
Library Comics and Comic Art Collection, it was broken up and auctioned off in
2001 after his death, "leaving 12 tons of paper at his home to be cleared and
sorted."
Bob Monkhouse reflected in the foreword to the auction catalogue of The Denis
Gifford Collection on how one "whose researches were so meticulous have allowed
this vast
gathering of treasures to have swollen into such unruly and uncatalogued
confusion". The sale was described in the auction pamphlet as "surely the
largest private
collection of annuals, books, cartoons, cinema history, comics, ephemera &

original artwork ever to come on the market. The collection, housed in some 600
boxes and
weighing ten tons, arrived on a groaning lorry and took five men nearly three
hours to unload. We expect sales to run to some 4000 lots."
CONTENTS:
Introduction: The Editor's Chat! 3
Ally Sloper: Side-splitting, Sentimental And Serious! 4
Comic Cuts: One Hundred Laughs For One Half-penny! 7
The Big Budget: Three Papers For One Penny! 10
Puck: Bright Wings of Colour And Fancy! 14
The Rattler: Twelve Pages! Free Footballs! One Penny! 19
The Dandy: Our Funsters' Wiles Will Bring You Smiles! 23
Famous Funnies: 100 Comics - 10 Cents! 27
Action Comics: It's A Bird! It's A Plane! It's Superman! 49
Eagle: The New National Strip Cartoon Weekly! 54
Pow! For The New Breed Of Comic Fans! 57
British Comics Since 1960 60
Index 62

About this book:
"The comic paper is a familiar sight on every bookstall in the land. No family
home is without its collection of battered Beanos; no attic or junkshop complete
without
its pile of tattered Eagles. Perhaps comics are too familiar, too common to care
about, for only Great Britain is without its learned society of comic strip
historians
(as found in France), a serious magazine devoted to cartoon archaeology (as in
Italy), or an Academy of Comic Book Arts (as in America). Which is a pity, for
comics
were born in England.

In this concentrated but definitive history, Denis Gifford traces the evolution
of the comic and its heroes from 'Ally Sloper' to 'Dan Dare', from 'Weary Willie
and
Tired Tim' to 'Desperate Dan'. Along the way he exposes a trade secret here and
drops a hint to comic collectors there, illustrating the whole with pictorial
gems from
his own vast collection."

About the author:
Página 18
"Denis Gifford has been collecting comics since he learned to read on Chick's
Own, and drawing comics since he contributed 'Magical Monty' to All Fun in 1942
at the
age of fourteen. Better remembered (and better drawn!) are some of his
characters which appear on the cover of this book: 'MarveIman', 'Jim Bowie',
'Stonehenge Kit the
Ancient Brit', 'Flip and Flop', 'Steadfast McStaunch', 'Our Ernie', 'Mrs.
Entwhistle's Little Lad', and of course, Kuthben Koo Koo who komperes 'Koo Koo
Klub'
kurrently in Whizzer and Chips. After a long career cartooning for Beano,
Knockout and Comic Cuts, Denis Gifford suddenly threw in his nib and turned to
the
typewriter. He wrote People Are Funny for Radio Luxembourg, the first daily
comedy series on television, the opening show for BBC 2, and the long-running
radio panel game, Sounds Familiar. He has also published three books about
films: British Cinema, Movie Monsters, and Science Fiction Film."
0000000000000000000000000
Robert A. Heinlein: America As Science Fiction. By H. Bruce Franklin (Galaxy
Book GB 610) (Science-Fiction Writers Series) (New York: Oxford University
Press, 1980)
Robert A. Heinlein: America As Science Fiction was the first full-length study
of Robert A. Heinlein's life and literary career. It was originally published in
hardcover in 1980 by Oxford University Press. This trade paperback edition

marked its first appearance in paperback.
"In 1939, a 32-year-old former naval officer— disabled by tuberculosis saw an ad
in Thrilling Wonder Stories offering a $50 prize for the best amateur story.
Thus
began the career of Robert A. Heinlein.
Today, with thirty-six books in print and an audience of many millions, Heinlein
is our most popular, controversial, and influential sf author. Known as "the
dean of
science fiction," he has won the Hugo award four times, and has been acclaimed
by segments of American life as disparate as the U.S. Naval Academy, the
libertarian
movement, and Charles Manson. Words coined in his fiction have become part of
our language.
Here is the only full-length study of Robert Heinlein's entire career. H. Bruce
Franklin provides a detailed examination of each of Heinlein's
tales and novels (including his 1980 novel The Number Of The Beast), the only
complete bibliography of his works, an annotated list of
writings about him, and original new material about his early life. Franklin
also explains Heinlein's key role in spreading science fiction
throughout American culture in the form of movies, television serials, comic
books, and games.
Franklin sees Heinlein as a central cultural phenomenon, an incarnation of
"America as science fiction," expressing some of the deepest
dreams and nightmares of a rapidly changing society. By exploring Heinlein's
imagination, Franklin offers us a new way of comprehending
America moving through the Depression, World War II, the Cold War, the Vietnam
War, the rebellions of the 1960s, and the crises and apocalyptic visions
unfolding from
Página 19
the 1970s into the 1980s. (A volume in the Science-Fiction Writers Series).
H. Bruce Franklin is Professor of English and American Literature at Rutgers

University, Newark, and author of such seminal books as The Wake Of The Gods:
Melville's
Mythology, Back Where You Came From, and The Victim As Criminal And Artist. His
Future Perfect: American Science Fiction Of The Nineteenth Century (GB241)
opened
science fiction to serious study as literature."
"Given that Heinlein is as central to modern science fiction as science fiction

is to contemporary American culture, the serious study of Heinlein's work should
illuminate both contexts. Such is indeed the case in Franklin's lucid and
trenchant analysis. Not only does he provide a series of interpretations
literally bristling
with insights but the controlling dynamic which Franklin discovers at the heart
of Heinlein's fiction. . . has implications for both the nature of the genre and
the
nature of American society." - David Ketterer.

CONTENTS:
1 / Robert A. Heinlein: His Time And Place / 3
2 / From Depression Into World War II: The Early Fiction / 17
3 / New Frontiers: 1947-59 / 64

The Last Frontier: Escape Into Space / 66
Fables For The Youth Of The Fifties: The Juvenile Series / 73
For Those With No Exit / 93
The End Of An Era: Starship Troopers and "All You Zombies—" / 110
4 / A Voice Of The 1960s / 126

Stranger In A Strange Land (1961) / 126
Podkayne Of Mars (1962-63) / 140
Glory Road (1963) / 146
Farnham's Freehold (1964) / 151
"Free Men" and The Moon Is A Harsh Mistress (1965-66) / 159
5 / The Private Worlds Of The 1970s / 172
I Will Fear No Evil (1970) / 172
Time Enough For Love: The Lives Of Lazarus Long (1973) / 180
6 / Apocalypse Now: The Number Of The Beast— (1980) / 198

Chronology / 213
Checklist Of Works By Robert A. Heinlein / 214
Select List Of Works About Robert A. Heinlein / 220
Index / 225
About The Author:

Howard Bruce Franklin (born February 1934), is an American cultural historian,
author, and scholar. He is notable for receiving top awards for his lifetime
scholarship
in fields as diverse as American studies, science fiction, prison literature and
marine ecology. So far he has written or edited nineteen books and three hundred
professional articles and participated in making four films. His main areas of
academic focus are science fiction, prison literature, environmentalism, the
Vietnam War
and its aftermath, and American cultural history. He was instrumental in helping
Página 20
to debunk false public speculation that Vietnam was continuing to hold prisoners
of
war. He helped to establish science fiction writing as a genre worthy of serious
academic study. In 2008, the American Studies Association awarded him the
Pearson-Bode
Prize for Lifetime Achievement in American Studies. A critic of the Vietnam War,
he was fired from Stanford in 1972 as a result of his firmly held positions, and
the
termination brought nationwide attention to the issue of academic freedom. Since

1975, he is the John Cotton Dana Professor of English and American Studies at
Rutgers
University in Newark, New Jersey.
Franklin has a lifelong passion for science fiction and has been a guest curator
on topics about Star Trek and Star Wars.
His book Future Perfect: American Science Fiction Of The Nineteenth Century
(1966) identified American authors including Washington Irving, Edgar Allan Poe,
Nathaniel
Hawthorne and Herman Melville as pioneers of this genre who wrote science
fiction, contrary to popular understanding. His Robert A. Heinlein: America As
Science
Fiction won the Eaton Award for best SF critical book of the year in 1981, and
contributed to Franklin receiving the Pilgrim Award from the Science Fiction
Research
Association for lifetime scholarship in 1983.

His 1988 book War Stars: The Superweapon And The American Imagination was cited
by leftist philosopher and linguist Noam Chomsky, who bemoaned the prevalence of
a
recurring theme in popular literature that "we're about to face destruction from
some terrible, awesome enemy." Franklin's research explored America's
fascination with
superweapons. He argued in War Stars: The Superweapon And The American

Imagination (selected by Choice as the Outstanding Academic Book of 1989) that
popular American
books and novels in preceding decades and centuries, which dealt with the themes
of superweapons, may have helped to shape national thinking on this subject. His
book
presents a view that, ironically, from Robert Fulton’s submarine Nautilus in the
18th century to the death-dealing weaponry of the late 20th century,
superweapons
ostensibly designed to end war have proved capable of exterminating the human
species. The expanded 2008 edition explores how this cultural history led to the
seemingly permanent state of warfare of the 21st century. War Stars is informed
by Franklin’s own earlier experience as a navigator and intelligence officer in
the
Strategic Air Command. When the movie Independence Day appeared in 1996,
Franklin said "Fundamental to the historical experience of [American] culture
are alien
invaders who came armed with a superior technology and wiped out the culture
that was here."
Página 21
In 1991, he was Guest Curator for the Star Trek and the Sixties exhibit at the
National Air and Space Museum of the Smithsonian Institution; this show
subsequently
traveled to the Hayden Planetarium.
0000000000000000000000000000000000000000
The Dreams Our Stuff Is Made Of: How Science Fiction Conquered The World. By
Thomas M. Disch (New York: The Free Press, 1998) (256 pages) (Dust jacket design
by Tom
Stvan)
The Dreams Our Stuff Is Made Of: How Science Fiction Conquered The World (1998)
was awarded the 1999 Hugo Award for best "related" (i.e., non-fiction) book.
It's an overview of the interactions between science fiction and the real world,
written by Thomas M. Disch, a noted author in the field. It is neither a history
of
science fiction nor a collection of personal anecdotes, but contains some of

each, and is written somewhat conversational style, designed to appeal to both a
relative
newcomer to science fiction and an expert in the field.
In this book Disch makes several arguments: That America is a nation of liars,
and for that reason science fiction has a special claim to be our national
literature,
as the art form best adapted to telling the lies we like to hear and to pretend
we believe. That Edgar Allan Poe was the first SF author (as opposed to authors
such as
Mary Shelley or Cyrano de Bergerac). And that the three greatest SF authors are
Poe, Jules Verne and H. G. Wells. He levels attacks against writers who in his
opinion
have attempted to trick or manipulate readers by presenting science fiction as
fact—namely Erich von Däniken and L. Ron Hubbard—and examines the use of science
fiction
to promote a political ideology, singling out Ursula K. Le Guin's feminism and

Robert A. Heinlein for advocating the growth of the military-industrial complex.
The
book also examines the manner in which the real world is represented in science
fiction allegory, such as the argument that the aliens of Star Trek represent
non-
Caucasian humans, and that science fiction provides an insight into the
strategies of the American military.
About The Author:

Thomas Michael Disch (February 2, 1940 – July 4, 2008) was an American science
fiction author and poet. He won the Hugo Award for Best Related Book –
previously called
"Best Non-Fiction Book" – in 1999, and he had two other Hugo nominations and
nine Nebula Award nominations to his credit, plus one win of the John W.
Campbell Memorial
Award, a Rhysling Award, and two Seiun Awards, among others.
In the 1960s, his work began appearing in science-fiction magazines. His

critically acclaimed science fiction novels, The Genocides, Camp Concentration,
334 and On
Página 22
Wings Of Song are major contributions to the New Wave science fiction movement.
In 1996, his book The Castle Of Indolence: On Poetry, Poets, And Poetasters was
nominated for the National Book Critics Circle Award, and in 1999, Disch won the
Nonfiction Hugo for The Dreams Our Stuff Is Made Of, a meditation on the impact
of
science fiction on our culture, as well as the Michael Braude Award for Light
Verse. Among his other nonfiction work, he wrote theatre and opera criticism for
The New
York Times, The Nation, and other periodicals. He also published several volumes
of poetry as Tom Disch.
Following an extended period of depression following the death in 2005 of his

life-partner, Charles Naylor, Disch stopped writing almost entirely, except for
poetry
and blog entries – although he did produce two novellas. Disch committed suicide
by gunshot on July 4, 2008 in his apartment in Manhattan, New York City. His
last
book, The Word Of God, which was written shortly before Naylor died, had just
been published a few days before Disch's death.
Disch was born in Des Moines, Iowa, on February 2, 1940. Because of a polio
epidemic in 1946, his mother Helen home-schooled him for a year. As a result, he
skipped
from kindergarten to second grade. Disch's first formal education was at
Catholic schools; which is evidenced in some of his works which contain scathing
criticisms of
the Catholic Church. The family moved in 1953 to St. Paul in Minnesota,
rejoining both pairs of grandparents, where Disch attended both public and
Catholic schools. In
the Saint Paul public schools, Disch discovered his long-term loves of science
fiction, drama, and poetry. He describes poetry as his stepping-stone to the
literary
world. A teacher at St. Paul Central, Jeannette Cochran, assigned 100 lines of
poetry to be memorized; Disch wound up memorizing ten times as much. His early
fascination continued to influence his work with poetic form and the direction
of his criticism.
After graduating from high school in 1957, he worked a summer job as a trainee
steel draftsman, just one of the many jobs on his path to becoming a writer.
Saving
enough to move to New York City at the age of 17, he found a Manhattan apartment
and began to cast his energies in many directions. He worked as an extra at the
Metropolitan Opera House in productions of Spartacus for the Bolshoi Ballet,

Swan Lake for the Royal Ballet, and Don Giovanni, Tosca and others for the Met.
He found
work at a bookstore, then at a newspaper. At the age of 18, a penniless,
friendless, gay teenager, he attempted suicide by gas oven, but survived. Later
that year, he
enlisted in the army. Disch's incompatibility with the armed forces quickly
resulted in a nearly three-month commitment to a mental hospital.
After his discharge, Disch returned to New York and continued to pursue the arts
in his own indirect way. He worked, again, in bookstores, and as a copywriter.
Some of
Página 23
these jobs paid off later; working as a cloak room attendant in New York theater
culture allowed him to both pursue his lifelong love of drama and led to work as
a
magazine theater critic. Eventually, he got another job with an insurance
company and went to school. A brief flirtation with architecture led him to
apply to Cooper
Union, where he was told he got the highest score ever on their entrance exam,
but dropped out after a few weeks. He then went to night school at New York
University
(NYU), where classes on novella writing and utopian fiction developed his tastes
for some of the common forms and topics of science fiction. In May 1962, he
decided to
write a short story instead of studying for his midterm exams. He sold the
story, "The Double Timer", for $112.50, to the magazine Fantastic. Having begun
his literary
career, he did not return to NYU but rather took another series of odd jobs such
as bank teller, mortuary assistant, and copy editor – all of which served to
fuel what
he referred to as his night-time "writing habit". Over the next few years he
wrote more science fiction stories, but also branched out into poetry; his first
published
poem, "Echo and Narcissus", appeared in the Minnesota Review's Summer 1964
issue.
Disch entered the field of science fiction at a turning point, as the pulp
adventure stories of its older style began to be challenged by a more serious,
adult, and
often darker style. This movement, called New Wave, tried to show that the ideas
and themes of science fiction could be developed beyond the simple engineering-
mechanical approach of traditional SF. Rather than trying to compete with

mainstream writers on the New York literary scene, Disch plunged into the
emerging genre of
science fiction, and began to work to liberate it from some of its strict
formula and narrow conventions. His first novel, The Genocides, appeared in
1965; Brian W.
Aldiss singled it out for praise in a long review in SF Impulse. Much of his
more literary science fiction was first published in English author Michael
Moorcock's New
Wave magazine, New Worlds.
Disch was widely traveled and lived in England, Spain, Rome, and Mexico. In
spite of this, he remained a New Yorker for the last twenty years of his life.
He said that
"a city like New York, to my mind, is the whole world", keeping a long-time New
York residence overlooking Union Square.
Writing had become the dominant focus of his life. Disch described his personal
transformation from dilettante to "someone who knows what he wants to do and is
so busy
doing it that he doesn't have much time for anything else." After The Genocides,
he wrote Camp Concentration and 334. More books followed, including science
fiction
novels and stories, gothic works, criticism, plays, a libretto for an opera of
Frankenstein, prose and verse children's books such as A Child's Garden Of
Página 24
Grammar, and
ten poetry collections. In the 1980s, he moved from science fiction to horror,
with a series of books set in Minneapolis: The Businessman, The M.D., The
Priest, and
The Sub.
His writing included substantial freelance work, such as regular book and
theater reviews for The Nation, The Weekly Standard, Harper's, The Washington
Post, The Los
Angeles Times, The New York Times, the Times Literary Supplement, and
Entertainment Weekly. Recognition from his award-winning books led to a year as
"artist-in-
residence" at William and Mary College. During his long and varied career, Disch
found his way into other forms and genres. As a fiction writer and a poet, Disch
felt
typecast by his science fiction roots. "I have a class theory of literature. I
come from the wrong neighborhood to sell to The New Yorker. No matter how good I
am as
an artist, they always can smell where I come from."

Though Disch was an admirer of and was friends with the author Philip K. Dick,
Dick would write an infamous paranoid letter to the FBI in October 1972 that
denounced
Disch and suggested that there were coded messages, prompted by a covert
organization, in Disch's novel Camp Concentration. Disch was unaware and he
would go on to
champion the Philip K. Dick Award. In his final novel, however, The Word Of God,
Disch got his revenge on Dick, with a story in which Dick is dead and living in
Hell,
unable to write because of writer's block. In return for a taste of human blood,
which will unlock his ability to write, he makes a deal to go back in time and
kill
Disch's father, so that Disch will never be born, and at the same time to kill
Thomas Mann and thereby to insure that Hitler wins World War II.
He maintained an apartment in New York City, sharing it and a house in

Barryville, New York, with his partner of three decades, poet Charles Naylor.
Disch's private
life remained private, for the most part. He was publicly gay since 1968; this
came out occasionally in his poetry and particularly in his 1979 novel On Wings
Of Song.
He did not try to write to a particular community: "I'm gay myself, but I don't
write 'gay' literature." He rarely mentioned his sexuality in interviews, though
he was
interviewed by the Canadian gay periodical The Body Politic in 1981. After
Naylor's death in 2005, Disch had to abandon the house, as well as fight
attempts to evict
him from his rent controlled apartment, and he became steadily more depressed.
He wrote on a LiveJournal account from April 2006 until his death (he committed
suicide
by fatally wounding himself in the head via gunshot), in which he posted poetry
and journal entries.
Disch was an outspoken atheist as well as a satirist; his last novel The Word Of
Página 25
God was published by Tachyon Publications in the summer of 2008. His last
published
work, the posthumous story collection The Wall Of America, contains material
from last half of Disch's career.
''''''''''''''''''''''
Heliosium said: Many if all the translators were old timers without any
connection with the man in the Moon, rockets and voyages to the space , so they
could not
connect a god with an astronaut, nor a golden ray with a spaceship. Upon that,
they were paid to be on site translating by: religious organizations that will
not
permit to change the tradition that mantains them in high position by any way.
Etc.
ppppppppppppp
The Blue Book Magazine [v89 #3, July 1949] ed. Donald Kennicott (McCall
Corporation, 25¢, 144pp, letter)
These United States...XXXI—Iowa · Benton Clark · cv

These United States...XXXI—Iowa: The Heart of America · Anon. · nf; illus.
Benton Clark
Readers’ Comment · [The Readers] · lc
_ · [letter] · James L. Dalton · lt
_ · [letter] · Nick Zell · lt
_ · [letter] · Agatha Brungardt · lt
2 · Serenade in Leadville · Lynn Montross · ss; illus. John Fulton
9 · The Tiger’s Hour · Herbert Ravenel Sass · ss; illus. Charles Chickering
16 · Normandy Break-Through · C. Donald Wire & Forrest Shugart · nf; illus.
Hamilton Greene
25 · Flags of Our Fathers · H. Bedford-Jones · ex The Blue Book Magazine Jul
1942, as “To You, Old Glory”; excerpt from the first story in the “Flags of Our
Fathers”
series. The excerpt was published in the July 1942 issue and the full story in
the August 1942 issue.
26 · A Frame for the Duke [The Old Neighborhood] · Joel Reeve · ss; illus.
Raymond Sisley
Sport Spurts · Harold Helfer · cl
34 · Dogs of Destiny [Part 1 of 3] · Fairfax Downey · nf; illus. Paul Brown
38 · Songs That Have Made History: XIII. Aj, Lúcka, Lúcka! · Fairfax Downey · nf
39 · Pie in Ye Sky · Captaine John Smith · ia; brief extract from A Booke of
Captaine John Smith, 1622, illuminated and illustrated by Peter Wells; illus.
Peter Wells
40 · Sleuths with Sirens · Stewart Sterling · nf; illus. Raymond Thayer
44 · By Appointment · Arthur Gordon · ss; illus. Frederick Chapman
50 · Picturesque People: XIV: The Incredible Captain Boyton · John Ferris · nf
54 · The Passing of Effie · Harry Botsford · ss; illus. Charles Chickering
Birds Are Like That · Simpson M. Ritter · cl
58 · Sea Toll · Bill Adams · nf; illus. Raymond Sisley
65 · Cloudy in the West · Allan Bosworth · ss; illus. Loran Wilford
70 · The Rolling Tons · William E. Barrett · na; illus. John McDermott
84 · Position Unknown · Peter Dollar · ss; illus. Grattan Condon
89 · Bronc’ Stomper · Frank Bonham · ss Liberty Apr 28 1945; given as “The
Bronc’ Stomper” in the Table of Contents; illus. Charles Hargens
96 · The Devil’s Luck [Benvenuto Cellini] · Wilbur S. Peacock · ss; illus. John
Fulton
108 · Star of Doom [Part 1 of 2] · Lewis Sowden · sl; illus. John McDermott
ibc · Who’s Who in This Issue · [The Editor] · cl [Lynn J. Montross; Harry
Botsford; Arthur Gordon; H. Bedford-Jones]; profiles & photos of Lynn Montross,
Harry
Botsford; profile only of Arthur Gordon; photo and obit of H. Bedford-Jones
Página 26
0000000000000000000000000000000000000000000000
I turned against the left wing because they don't like genetics, because
genetics implies that sometimes in life we fail because we have bad genes. They
want all
failure in life to be due to the evil system.

000000000000000000000000000000000000000000000000000
Paene insularum, Sirmio, Insularumque
ocelle, quascumque in liquentibus stagnis
marique vasto fert uterque neptunus,
quam te libenter quamque laetus inviso,
vix mi ipse credens Thyniam atque Bithynos
liquisse campos et videre te in tuto.
O quid solutis est beatius curis,
cum mens onus reponit, ac peregrino
labore fessi venimus larem ad nostrum,
desideratoque acquiescimus lecto?
Hoc est quod unum est pro laboribus tantis.
Salve, o venusta Sirmio, atque ero gaude
gaudente; vosque, o Lydiae lacus undae,
ridete quidquid est dome cachinnorum.
english:
Sirmio, jewel of islands and of peninsulas,

Whatever each Neptune carries
In the stagnant clear waters and in the vast sea,
How gladly and how happy I see you,
Scarcely myself believing myself that I have left behind
Thynia and the Bithynian fields and that I see you in safety.
O what is more blessed than cares freed,
When the mind puts down its burden,
And we tired from foreign labor come
To our hearth and rest in a longed for bed?
This is that which is the one thing for such great labors.
Greetings, O beautiful Sirmio, and rejoice in your master rejoicing;
And you, O Lydian waves of the lake,
Laugh whatever there is of laughter at home.
000000000000000000000
From Chile: We like it or not, we are repeating old recipes that in every case
has ended as bad as it can be. We have the Roman Empire (USA) doing whatever
they like
with the tiny little countries, and the Barbarians getting stronger by the hour.
The difference is that now the Empire could fly and throw bombs over the heads
of
their "enemies" (you must read here "prey"). Some day the Barbarians will make a
stew with the Empire and we will all suffer the consequences, we like it or not.
000000000000000000000000
The Best Mysteries Of Isaac Asimov. [The Master's Choice Of His Own Favorites].
By Isaac Asimov (Garden City, NY: Doubleday & Company, Inc., 1986) (xiv, 345
pages)
The Best Mysteries Of Isaac Asimov is a collection of thirty-one mystery stories
by Isaac Asimov, seven of which were previously uncollected. It was originally
published in hardcover in 1986 by Doubleday & Company.
CONTENTS:
"I have chosen the stories I consider the best and not necessarily those that
critics or readers do." So says Isaac Asimov of this marvelous new
anthology, the first "best of" edition of his extraordinary mysteries.
From the classic Black Widower and Union Club series to a wide variety of other
Página 27
intriguing tales, many of the thirty-one selections in this volume have never
before
been collected in book form. Each is introduced with a short and lively
commentary from the Good Doctor himself, and all add up to the perfect Asimov
formula for sheer
entertainment and pure delight.
Discover here "The Obvious Factor," the haunting account of a young woman's
psychic power, and of a mystery more bizarre than the supernatural; "The Sign,"
a clever
tale that applies knowledge of the zodiac to solve a grisly murder; "A Problem
of Numbers," in which the key to a young man's happiness lies in the solution to
a
cryptogram—if he can find it; and twenty-eight other puzzlers that bring a
dazzling new luster to an age-old and timeless genre.
With its potent mix of mayhem and madness, eerie twilight places and startling
reality, The Best Mysteries Of Isaac Asimov offers a feast for fans and a very
special
treasury for those meeting the Master for the first time.
Isaac Asimov has written over 340 books on subjects ranging from the Bible and
Shakespeare to math and alien encounters. He is perhaps the best known—and
certainly the
best loved—of all science fiction authors, with over ten million copies of his
works sold worldwide....The Best Mysteries Of Isaac Asimov is the companion
volume to
The Best Science Fiction Of Isaac Asimov..."
CONTENTS:
The Best Mysteries Of Isaac Asimov Isaac Asimov (Doubleday 0-385-19783-7, August
1986 [July 1986], $17.95, 345pp, hc) Mostly non-sf/fantasy, associational.
Collection
of 31 stories including some sf mysteries. 7 of the stories have not been

collected before.
xi · Introduction · in
3 · The Obvious Factor [Black Widowers] · ss EQMM May 1973
17 · The Pointing Finger [Black Widowers] · ss EQMM July 1973
31 · Out Of Sight [“The Six Suspects”; Black Widowers] · ss EQMM December 1973
47 · Yankee Doodle Went To Town [Black Widowers] · ss Tales Of The Black
Widowers, Garden City, NY: Doubleday, 1974
63 · Quicker Than The Eye [Black Widowers] · ss EQMM May 1974
77 · The Three Numbers [“All In The Way You Read It”; Black Widowers] · ss EQMM
September 1974
93 · The One And Only East [Black Widowers] · ss EQMM March 1975
108 · The Cross Of Lorraine [Black Widowers] · ss EQMM May 1976
124 · The Next Day [Black Widowers] · ss EQMM May 1978
139 · What Time Is It? [Black Widowers] · ss The Casebook Of The Black Widowers,
Garden City, NY: Doubleday, 1980
155 · Middle Name [Black Widowers] · ss The Casebook Of The Black Widowers,
Garden City, NY: Doubleday, 1980
170 · Sixty Million Trillion Combinations [“64 Million Trillion Combinations”;
Black Widowers] · ss EQMM May 5 1980
184 · The Good Samaritan [Black Widowers] · ss EQMM September 10 1980
199 · Can You Prove It? [Black Widowers] · ss EQMM June 17 1981
213 · The Redhead [Black Widowers] · ss EQMM October 1984
231 · He Wasn’t There [“The Spy Who Was Out-of-Focus”; Union Club] · ss Gallery
February 1981
237 · Hide And Seek [Union Club] · ss Gallery May 1981
243 · Dollars And Cents [“Countdown to Disaster”; Union Club] · ss Gallery
January 1982
Página 28
249 · The Sign [“The Telltale Sign”; Union Club] · ss Gallery April 1982
255 · Getting The Combination [“Playing It by the Numbers”; Union Club] · ss
Gallery June 1982
261 · The Library Book [“Mystery Book”; Union Club] · ss Gallery July 1982
267 · Never Out Of Sight [“The Amusement Lark”; Union Club] · ss Gallery March
1983
273 · The Magic Umbrella [“Stormy Weather”; Union Club] · ss Gallery May 1983
279 · The Speck [Union Club] · ss EQMM December 1983
287 · The Key [Wendell Urth] · nv F&SF October 1966
316 · A Problem Of Numbers · ss EQMM May 1970; as “As Chemist To Chemist”, IASFM
November 1978
321 · The Little Things · ss EQMM May 1975
325 · Halloween · ss The American Way October 1975
329 · The Thirteenth Day Of Christmas · ss EQMM July 1977
333 · The Key Word · ss The Key Word And Other Mysteries, New York: Walker, 1977
337 · Nothing Might Happen! · ss AHMM December 1983
00000000000000heliosium
heliosium Hace 1 segundo
+Graham Dillinger That God (a kind of The Force, but having control of it all ,
as it is inside Nature) exists, does not mean the jewbible is true. The Bible is
a
edited version of the Sumerian tablets plus the history of Jewland, with every
notion they could grab from the neighbor´s legends. Seems God has never talked
with
Moses, never has come as Jesus the man, and simply because is part of the world.
Does not need to "come". Why? Look "matter", existing in a minimum quantity
inside the
atom, that in true words, is only vibration, so it really does not exist. Why?
Because God is a spirit that built Universe out of nothing more than his
vibration, that
He increases and make worlds. yeah, sounds like Hindu legend, but backed up by
science. While JHW and Jesus are not.?0000000000
Página 29

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Margaret Hedda Johnson........ by Director Shaffer.

Afterwards, she became a freelance artist as a fashion illustrator for various

it only ran sporadically from October 1930 to January 1934.)

cultists; often they were in bondage being whipped by evil priestesses;

Because Brundage could no longer deliver the artwork in person it had to be

Josey Wales: Reckon I'm right popular. You a bounty hunter?

Bounty hunter: A man's got to do something for a living these days.

Josey Wales: Dyin' ain't much of a living, boy.

It was originally published in hardcover in 1973 by a small publishing firm in

Friede under the title Gone To Texas.

From the dust jacket:

surprise chance for a new way of life."

Bears is an unforgettable and suspenseful reading experience. In fact, I liked

"Authentic in detail, exciting, stark, brutal, with uncompromising

About The Author:

well-known pro-segregation line, "Segregation now, segregation tomorrow,

The Education Of Little Tree (1976), a best-selling, award-winning book which

movement – and an independent Ku Klux Klan group, and started a pro-segregation

sponsored by the American State's Rights Association, were syndicated to more

attack). In 1963, a parole board, appointed by Carter's then-employer Alabama

reputation as a segregationist firebrand. During the late 1960s, Carter grew

Carter ran against Wallace for governor of Alabama in 1970 on a white

published as a memoir. The latter sold modestly – as fiction – during Carter's

segregationist. In 1997, after the success of the paperback edition of The

In 1978, Carter published Watch For Me On The Mountain, a fictionalized

Fantastic Planets is a pictorial book on science fiction in movies and tv, in

From the dust jacket:

Melies, Stanley Kubrick, Steven Spielberg, and George Lucas.

shout a resounding, "Yes!"

the Great Beyond, on a journey you won't soon forget."

director at The New York Times.

Stripes. He also spoke several languages. In 1973, Suares arranged an exhibition

autobiography, Moonwalk. Suares was in one movie in 1973, It Happened In

infection. He was 71.

About Richard Siegel:

in the Second Brana. Some of his works appears in Scribd.

The Williamson Effect. [Original Stories In Tribute To Grand Master Jack

The Williamson Effect is an original anthology of fifteen SF short stories and

"Inside Passage" by Poul Anderson: a chilling sequel to Williamson's seminal

"Thinkertoy" by John Brunner: a gripping homage to Williamson's classic work of

Robert Heinlein."—Arthur C. Clarke.

one poem, about or inspired by Jack Williamson, with an introduction by David

Thirties, Forties and Fifties....

of these interviews, elected to, in effect, construct an autobiography from

technique: simple, uncluttered and workmanlike, but filled with details of

Before coming to film, King worked as an actor in various repertoire theatres,

last surviving founder. He directed over 100 films in his career.

sidekick ( 1950's kid show).

Science Fiction Greats was no exception. It began publication in 1965 as Great

Discovering Comics. By Denis Gifford (Tring, Herts., UK: Shire Publications,

chronicled and remembered before extant copies were lost.

collection of annuals, books, cartoons, cinema history, comics, ephemera &

From the back cover:

were born in England.

his own vast collection."

hardcover in 1980 by Oxford University Press. This trade paperback edition

H. Bruce Franklin is Professor of English and American Literature at Rutgers

"Given that Heinlein is as central to modern science fiction as science fiction

nature of American society." - David Ketterer.

3 / New Frontiers: 1947-59 / 64

4 / A Voice Of The 1960s / 126

6 / Apocalypse Now: The Number Of The Beast— (1980) / 198