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Phanteur, whole no. 1, January 1946
Page 12
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12 PHANTEUR music. This "History of Jazz" album would fit in very well. I'd also want a score or so of syphonic works, selected more on the basis of personal liking than anything else, and a couple dozen platters of Heifitz, Elman, Menuhin, etc. And, perhaps, some Gilbert and Sullivan. THE MAG WITHOUT A NAME: In general, I object to receiving through the FAPA, a magazine I've already received by subscription; but this is a rather exceptional publication, so I won't object to this at all. I like the lithos, Warner's article, the brief fanzine review, the poetry, Daugherty's corny humor, the printing ad, and the cartoons--in that order. 1944 FANZINE YEARBOOK: I'm the lucky possessor of two copies of this, also; It is really a useful publication. I'll "file" this copy with my FAPA mags; the other is already filed where I can't find it, either. Seriously, though, this is an exceptionally fine job on a worthwhile project. INSPIRATION: Well, Lynn, I like to discuss science fiction in the FAPA, too. Sometimes I do, but mostly, I don't. I have several reasons. For one thing, such discussions require a reasonably good filing and indexing system, to make information about plot, author, etc. available; or lacking that, a very good memory for such details. Since I have neither, the only alternative would be a lot of digging and skimming. I'm a reasonably good digger, but a lousy skimmer; instead of skimming, I tend to reread, which takes entirely too much time. Another reason is that I'm really more interested in the ideas suggested by the stories than in the stories themselves; so, like a lot of other members of the FAPA, I read the stories, but discuss the ideas suggested, along with a lot of other things, rather distantly related to fantasy. Your own discussions of the Machine Age, Time, andThe Atom, in this issue of Inspiration are the same sort of thing. You seem to have missed a few points along the way, incidentally, as far as your discussion of time goes. The length of the week, for which you seem unable to account, is based, of course, on the phases of the moon, the waxing and waning of which is a phenomena of great significance to all primitive peoples, past and present. And the use of 12, rather than 10, for the number of hours in a day, the number of signs in the Zodiac, and the use of multiples of degrees in acircle, the number of minutes in an hour, etc., all go back at least to Babylonian times, the astrologer priests of that period having used a form of the duo-decimal system of numbers. The army system of writing time is going to be rough on some future archeologist; he is going to have trouble understanding that "1000 hours" sometimes means "ten hours past midnight" and sometimes means a period of time equal to 1000 hours of 60 minutes each. THE TIMEBINDER: I'm going to try to write a letter for EEE soon, expressing my attitude toward the concepts commonly expressed in The Timebinder. So far, no one has even approached my ideas. There is hint at my notions of these matters in my comments on Donn Brazier's two articles in this issue of PHANTEUR, and another in the comments on Butman's article in R & C, however. To me, the most interesting and significant letter in the issue is Milty's "Crossroads;" really an article, rather than a letter. The point he discusses is, in some ways, but a minor facet of a much greater problem, but it is starkly real, as no second-hand reports can be, and it demands a solution, soon. EEE's declaration of faith is well put. It reminds me very much of similar statements by a very intelligent, liberal Methodist minister I used to know, who, in addition to his duties in the Church, taught science classes in the local high school during the week. A very awkward situation it was, as you can see. A TALE OF THE 'EVANS: If you've met EEE, and talked with him even for a few hours, then you know that what he writes here is the real Evans, but not, by any manner or means, all of him. What sometimes seems, in writing, mere sugary philosphizing, takes on bone and sinew when you put the rest of EEE into it.
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12 PHANTEUR music. This "History of Jazz" album would fit in very well. I'd also want a score or so of syphonic works, selected more on the basis of personal liking than anything else, and a couple dozen platters of Heifitz, Elman, Menuhin, etc. And, perhaps, some Gilbert and Sullivan. THE MAG WITHOUT A NAME: In general, I object to receiving through the FAPA, a magazine I've already received by subscription; but this is a rather exceptional publication, so I won't object to this at all. I like the lithos, Warner's article, the brief fanzine review, the poetry, Daugherty's corny humor, the printing ad, and the cartoons--in that order. 1944 FANZINE YEARBOOK: I'm the lucky possessor of two copies of this, also; It is really a useful publication. I'll "file" this copy with my FAPA mags; the other is already filed where I can't find it, either. Seriously, though, this is an exceptionally fine job on a worthwhile project. INSPIRATION: Well, Lynn, I like to discuss science fiction in the FAPA, too. Sometimes I do, but mostly, I don't. I have several reasons. For one thing, such discussions require a reasonably good filing and indexing system, to make information about plot, author, etc. available; or lacking that, a very good memory for such details. Since I have neither, the only alternative would be a lot of digging and skimming. I'm a reasonably good digger, but a lousy skimmer; instead of skimming, I tend to reread, which takes entirely too much time. Another reason is that I'm really more interested in the ideas suggested by the stories than in the stories themselves; so, like a lot of other members of the FAPA, I read the stories, but discuss the ideas suggested, along with a lot of other things, rather distantly related to fantasy. Your own discussions of the Machine Age, Time, andThe Atom, in this issue of Inspiration are the same sort of thing. You seem to have missed a few points along the way, incidentally, as far as your discussion of time goes. The length of the week, for which you seem unable to account, is based, of course, on the phases of the moon, the waxing and waning of which is a phenomena of great significance to all primitive peoples, past and present. And the use of 12, rather than 10, for the number of hours in a day, the number of signs in the Zodiac, and the use of multiples of degrees in acircle, the number of minutes in an hour, etc., all go back at least to Babylonian times, the astrologer priests of that period having used a form of the duo-decimal system of numbers. The army system of writing time is going to be rough on some future archeologist; he is going to have trouble understanding that "1000 hours" sometimes means "ten hours past midnight" and sometimes means a period of time equal to 1000 hours of 60 minutes each. THE TIMEBINDER: I'm going to try to write a letter for EEE soon, expressing my attitude toward the concepts commonly expressed in The Timebinder. So far, no one has even approached my ideas. There is hint at my notions of these matters in my comments on Donn Brazier's two articles in this issue of PHANTEUR, and another in the comments on Butman's article in R & C, however. To me, the most interesting and significant letter in the issue is Milty's "Crossroads;" really an article, rather than a letter. The point he discusses is, in some ways, but a minor facet of a much greater problem, but it is starkly real, as no second-hand reports can be, and it demands a solution, soon. EEE's declaration of faith is well put. It reminds me very much of similar statements by a very intelligent, liberal Methodist minister I used to know, who, in addition to his duties in the Church, taught science classes in the local high school during the week. A very awkward situation it was, as you can see. A TALE OF THE 'EVANS: If you've met EEE, and talked with him even for a few hours, then you know that what he writes here is the real Evans, but not, by any manner or means, all of him. What sometimes seems, in writing, mere sugary philosphizing, takes on bone and sinew when you put the rest of EEE into it.
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