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Spaceways, v. 3 issue 3, whole no. 19, March 1941
Page 10
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10 SPACEWAYS CONFIDENTIAL NOTES ON EDITORS ers why you really ask for amateur stories. Now just between you and me, you know you don't ask for them because you would like to discover another Weinbaum among the pack...do you? Of course not. All right. As long as you are reluctant, I'll tip the lads off. You see, readers, it is this way. Friend Mort is an incurable hobbyist. Oh, he has dozens of hobbies, all going at once. He collects stamps, he collects postmarks, he collects paper clips, he collects old envelopes, he collects watermarks (in manuscript paper), he collects different-colored typing (it is rumored that he possesses manuscripts typed in nine different basic colors), he is something of a graphologist and likes to analyze signatures; but the most far-reaching, and fundamentally the greatest reason for asking for manuscripts from new authors is this: Weisinger is an incurable optimist; he believes wholeheartedly in the future of mankind; and steadfastly maintains that mankind is rapidly improving itself in every manner, especially in intelligence. To prove this, he has sent out call after call for manuscripts and letters from people living west of the Hudson river, for it is rumored that nine-tenths of the population of America west of the Hudson are ignorant. And so Weisinger arranged all these manuscripts in his office, on display for whosever cares to pause and look, and beside the manuscripts rests Mort's own statistical chart, proving beyond all doubt that the great mass of people in the midwest and west have learned to read and write and spell; and the manuscripts are documentary proof! In closing, I wish to comment upon but two more items. In his article, Editor Weisinger spoke of going into a huddle with big-boss Leo Margulies over matters of policy. Some more gentle leg-pulling, I assure you, dear readers! It could be but naught else, for have you ever heard of the bookkeper in The House of Morgan who strutted out with thumbs hooked in his vest and explained: "Me and J. P. just raised the price of Tin Can Preferred!"? Second item is Editor Gnaedinger's remark on choosing stories for coming issues. She couldn't, of course, let you in on the real method of choosing, for that would destroy the editorial illusion of hard work. No, I was up to her office one day and watched her throw darts at a target pinned to the wall. All over the target were names of stories available. But she made me promise not to tell. ODE TO A KALEIDOSCOPE [[hand written "6"]] by PAUL VOGENITZ Thou, tawdry toy, with fragments nimble, Shouldst give more joy as cosmic symbol Than any crescent, cross or crown That's handed through the ages down From forebears freedomless and brutal; Compared with thee such signs are futile! Thy bright flakes e'er roll o'er and o'er In shapes that ne'er were seen before; In fiery forms and fair they fall, As rosy as the dawn's sheer wall; Before our view, in constant change, Forever new, forever strange. The crescent's for Mohammed's host; The cross for Father, Son and Ghost; The crown for Victory's triumph sweet And the concomitant defeat! -- THOU for the plan that underlies All that we scan or can surmise.
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10 SPACEWAYS CONFIDENTIAL NOTES ON EDITORS ers why you really ask for amateur stories. Now just between you and me, you know you don't ask for them because you would like to discover another Weinbaum among the pack...do you? Of course not. All right. As long as you are reluctant, I'll tip the lads off. You see, readers, it is this way. Friend Mort is an incurable hobbyist. Oh, he has dozens of hobbies, all going at once. He collects stamps, he collects postmarks, he collects paper clips, he collects old envelopes, he collects watermarks (in manuscript paper), he collects different-colored typing (it is rumored that he possesses manuscripts typed in nine different basic colors), he is something of a graphologist and likes to analyze signatures; but the most far-reaching, and fundamentally the greatest reason for asking for manuscripts from new authors is this: Weisinger is an incurable optimist; he believes wholeheartedly in the future of mankind; and steadfastly maintains that mankind is rapidly improving itself in every manner, especially in intelligence. To prove this, he has sent out call after call for manuscripts and letters from people living west of the Hudson river, for it is rumored that nine-tenths of the population of America west of the Hudson are ignorant. And so Weisinger arranged all these manuscripts in his office, on display for whosever cares to pause and look, and beside the manuscripts rests Mort's own statistical chart, proving beyond all doubt that the great mass of people in the midwest and west have learned to read and write and spell; and the manuscripts are documentary proof! In closing, I wish to comment upon but two more items. In his article, Editor Weisinger spoke of going into a huddle with big-boss Leo Margulies over matters of policy. Some more gentle leg-pulling, I assure you, dear readers! It could be but naught else, for have you ever heard of the bookkeper in The House of Morgan who strutted out with thumbs hooked in his vest and explained: "Me and J. P. just raised the price of Tin Can Preferred!"? Second item is Editor Gnaedinger's remark on choosing stories for coming issues. She couldn't, of course, let you in on the real method of choosing, for that would destroy the editorial illusion of hard work. No, I was up to her office one day and watched her throw darts at a target pinned to the wall. All over the target were names of stories available. But she made me promise not to tell. ODE TO A KALEIDOSCOPE [[hand written "6"]] by PAUL VOGENITZ Thou, tawdry toy, with fragments nimble, Shouldst give more joy as cosmic symbol Than any crescent, cross or crown That's handed through the ages down From forebears freedomless and brutal; Compared with thee such signs are futile! Thy bright flakes e'er roll o'er and o'er In shapes that ne'er were seen before; In fiery forms and fair they fall, As rosy as the dawn's sheer wall; Before our view, in constant change, Forever new, forever strange. The crescent's for Mohammed's host; The cross for Father, Son and Ghost; The crown for Victory's triumph sweet And the concomitant defeat! -- THOU for the plan that underlies All that we scan or can surmise.
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