You won’t be surprised I first heard about this book from a review in Fortean Times.
Review: The Fortean Influence on Science Fiction: Charles Fort and the Evolution of the Genre, Tanner F. Boyle, 2020.
The price for the Kindle edition — $27.99 – was ridiculous. (Evidently, McFarland and other academic publishers think there are no non-academics who want to read their books.)
I’ve known about Charles Fort and his relationship to science fiction for 40 years since encountering Brian Ash’s The Visual Encyclopedia of Science Fiction and Robert Holdstock’s Encyclopedia of Science Fiction. I’ve read Charles Forts four famous books. I’ve read Damon Knight’s and Jim Steinmeyer’s biographies of Charles Fort. I sought out the blatantly Fortean science fiction novels: Eric Frank Russell’s Sinister Barrier and Dreadful Sanctuary and James Blish’s Jack of Eagles. I’ve long known about the Fortean influence on Arthur C. Clarke. I’ve subscribed to Fortean Times for decades.
Was Boyle going to tell me anything I didn’t know?
Charles Fort was the father of what Boyle calls “maybe fiction” – all those “occult” and paranormal studies and personal accounts, all the hidden (and usually ancient) histories, and UFO abduction stories we’ve heard of, authors like Graham Hancock, Richard Shaver, and Whitley Streiber whose accounts we either believe, judge as innocent mistakes, or regard as works of insanity. These are tales we are asked to believe whether couched as academic works or autobiography.
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Looking back in my posts after posting a review of volume six in this series, I see I hadn’t posted anything on volume one. I suspect that’s because, for whatever reason, I didn’t make notes on the last story in the book.
That makes this a …
Low Res Scan: The Collected Stories of Robert Silverberg, Volume One: To Be Continued, ed. Robert Silverberg, 2006.
“Introduction” — An interesting introduction to this, the first volume in what Silverberg says is the third attempt to collect his stories. Silverberg continues to amaze me with his prolificness while not working weekends and while in college. Here he casually mentions all the stories, as a professional writer (not working weekends but while in college), he sold in the years 1953-58. He says that he will let his mediocre sports and mystery stories languish. Silverberg is unapologetic about being a hack to fund sf projects he did care about. It was only years later that he discovered that the writers he admired, Fritz Leiber, Ray Bradbury, and Theodore Sturgeon weren’t supporting themselves by in the same way. Leiber had an editorial job. Bradbury sold to the high paying slicks. Sturgeon simply lived near starvation — which Silverberg decidedly didn’t. However, he is happy to reprint his early pulp stories which he thinks show compentency and that he has affection for.
“Gorgon Planet” — Silverberg justly points out that this, his first professional sale, is nothing special. But it is pretty good for an eighteen year old, and he’s right in showing that he had an early command of effectively linking exposition and dialogue. The plot itself is a lackluster retelling of the Perseus-Medusa myth in a sf context. Continue reading →
Not being given to hyperbole, let me define exactly what I mean.
I’m not talking about books I just liked a lot.
I’m not talking about books that I was exposed to so young that they didn’t change my beliefs or interests however much they shaped me.
I’m not talking about books that deepened an already nascent interest.
These are books that changed the direction of my life. The change was not a gentle, unrecognized pushing of my life along a new vector. These books were violent nudges. Continue reading →