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Banshee, whole no. 5, June 1944
Page 24
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24 * * * Banshee 'true musician." I've heard the Toccata and Fugue several times recently, and liked the tone of it, and faintly imagined that it could describe some lofty, serene, cool cathedral, but this is undoubtedly a result of my boundless imagination and reflects no skill on the part of Bach. However, I dearly love to submerbe myself in The Plants, La Mer, and Scheherazade (liking especially the Venus-music of the former) and lighter pieces like "March of the Little Lead Soldiers," "Trees" (as sung by Joh Charles Thomas). "The Road to Mandalay" (Tibbet), "In A Persian Market," and numerous other pieces, not to mention wonderful Wagnerian choruses, Tchaikovsky's symphonies, and extracts from quite a few operas. No amount of intelligent reasoning would make me consent to seeing this music destroyed, inferior as it may be accroding to Don's scientific standards. ("Down with the sentamentalist, men!") In passing, let me say that Michel's "Reflections from Troubled Waters" is most excellent and sane and I think it deserves the approval of all fans. FAN-DANGO: Laney's vulgarity is causing me to like him less and less. His continued reference to Degler publications as "bowel movements" inspires only a sort of passive contempt. His threat to oust me from FAPA if I do not cut with Degler, with no attempt at fairness and reason, is also not to his credit. Laney's earlier works, particularly his Lovecraftian labors, won him my respect and admiration; but he now has apparently gone realistic in a big way and wants everyone to realize what a sane, well-rounded, thoroughly self0sufficient individual he is. Thank Tao for kind, incorruptible fans like Ackerman! EN GARDE and SAPPHO are both in line for praise because of their superior covers. EN GARDE: I feel that Ashley's explanation of the "Michicon Exclusion Act" will stisfy most of fandom. But I dislike the contempt shown for Claude. And, just for the record, I am still unconvinced that he is the ogre they make him out to be. I hesitate to call Ashley a liar, though. He was decent enough in rejecting a story of mine for NOVA back in '42. My main reaction is a deep, sorrowful sigh that there has to be conflict in fandom. I am sure that Claude would be willing to abide by any "ethis" that applied to the whole of fandom. Chauvenet's "FAPAFILE" in SARDONYX is, to my mind, a masterful work, an excellent piece of writing. I had intended to write and article precisely like it not long before the March mailing arrived; but the clever Chauvenet has plagiarized me via mental telepathy. In all sincerity, LRC, it is a fine job, one which I shall refer to many times in coming years. SAPPHO: free verse has a peculiar charm for me, but Miss Chapper's "Impressions" seems a bit too fantastic. Her verse lacks that poetic essentia, Unity. The impressions ar eclear-cut and effective, but the whole thing leaves me with a flat feeling of "So what?" The untitled piece which might just as well be called "Midnight Mutter" has more of a central theme, but--we can't all be Lowndeses, Shirley. I can not find much sincereity in your work. If you will condescent to write me I will try to explain further.... Fywert Kinge, that famous Fassbeinder associate, achieves a good effect in "Solar Perplexum," and "Gray Day," which has been published previously, is acceptable but not as skillfully wrought. I could better appreciate the selection from Ho-
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24 * * * Banshee 'true musician." I've heard the Toccata and Fugue several times recently, and liked the tone of it, and faintly imagined that it could describe some lofty, serene, cool cathedral, but this is undoubtedly a result of my boundless imagination and reflects no skill on the part of Bach. However, I dearly love to submerbe myself in The Plants, La Mer, and Scheherazade (liking especially the Venus-music of the former) and lighter pieces like "March of the Little Lead Soldiers," "Trees" (as sung by Joh Charles Thomas). "The Road to Mandalay" (Tibbet), "In A Persian Market," and numerous other pieces, not to mention wonderful Wagnerian choruses, Tchaikovsky's symphonies, and extracts from quite a few operas. No amount of intelligent reasoning would make me consent to seeing this music destroyed, inferior as it may be accroding to Don's scientific standards. ("Down with the sentamentalist, men!") In passing, let me say that Michel's "Reflections from Troubled Waters" is most excellent and sane and I think it deserves the approval of all fans. FAN-DANGO: Laney's vulgarity is causing me to like him less and less. His continued reference to Degler publications as "bowel movements" inspires only a sort of passive contempt. His threat to oust me from FAPA if I do not cut with Degler, with no attempt at fairness and reason, is also not to his credit. Laney's earlier works, particularly his Lovecraftian labors, won him my respect and admiration; but he now has apparently gone realistic in a big way and wants everyone to realize what a sane, well-rounded, thoroughly self0sufficient individual he is. Thank Tao for kind, incorruptible fans like Ackerman! EN GARDE and SAPPHO are both in line for praise because of their superior covers. EN GARDE: I feel that Ashley's explanation of the "Michicon Exclusion Act" will stisfy most of fandom. But I dislike the contempt shown for Claude. And, just for the record, I am still unconvinced that he is the ogre they make him out to be. I hesitate to call Ashley a liar, though. He was decent enough in rejecting a story of mine for NOVA back in '42. My main reaction is a deep, sorrowful sigh that there has to be conflict in fandom. I am sure that Claude would be willing to abide by any "ethis" that applied to the whole of fandom. Chauvenet's "FAPAFILE" in SARDONYX is, to my mind, a masterful work, an excellent piece of writing. I had intended to write and article precisely like it not long before the March mailing arrived; but the clever Chauvenet has plagiarized me via mental telepathy. In all sincerity, LRC, it is a fine job, one which I shall refer to many times in coming years. SAPPHO: free verse has a peculiar charm for me, but Miss Chapper's "Impressions" seems a bit too fantastic. Her verse lacks that poetic essentia, Unity. The impressions ar eclear-cut and effective, but the whole thing leaves me with a flat feeling of "So what?" The untitled piece which might just as well be called "Midnight Mutter" has more of a central theme, but--we can't all be Lowndeses, Shirley. I can not find much sincereity in your work. If you will condescent to write me I will try to explain further.... Fywert Kinge, that famous Fassbeinder associate, achieves a good effect in "Solar Perplexum," and "Gray Day," which has been published previously, is acceptable but not as skillfully wrought. I could better appreciate the selection from Ho-
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