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Scientifictionist, v. 1, issue 5, June-July 1946

Page 6

SOME BOOKS FOR BRIDGES
by Francis T. Laney

Lynn Bridges more or less challenges me to name "actual examples of stories which surpass the better pulps and which are science-fiction, not fantasy." In one sense this is a tough chore, since there is considerable doubt in my mind whether his and my definitions of fantasy and science-fiction will coincide. At least, he cites William Sloane's fine To Walk the Night as science fiction, while I'd not be so sure of that. Sam Russell's definitions may prove of some interest: science fiction -- stories theoretically explainable by the laws of our universe; fantasy -- stories impossible in our universe as we know it; weird -- based upon a supernatural theme. On this basis, To Walk the Night is fantasy, since possession is impossible in our universe as we know it; moreover, the atmosphere of the story is predominantly fantastic.

I think perhaps the greatest stumbling block between reconciling Bridges' literary tastes and my own is the attitude with which we approach our reading. Judging from various remarks Bridges has made in FAPA, I'd inclined to think he reads chiefly for ideas, and is not especially particular as to the quality of a story as a story. If it contains concepts which set him to thinking, he probably considers it a good story, regardless of the quality of the writing; and, conversely, a story which contains no new ideas which appeal to thim probably leaves him cold, no matter how well it may be written. I'm not trying to put words in Lynn's mouth, and hope that he will set forth his criteria for story judging in concrete form for the readers of the Scientifictionist, particularly if I've misjudged his interest in the field.

The newness or frequency of ideas doesn't mean a thing to me. I am interested chiefly in story value. There are certain things I demand of every piece of fiction, stf or otherwise, and if the story lacks any of these characteristics I consider it of slight worth: characterization, reality, quality of writing, freedom from stereotyped plots and incidents, freedom from hackneyed pseudo-characters, freedom from formula construction. In other words, I expect my reading matter to measure up to the standards set by first class literary authors, and if it does not do so I'm afraid I regard it with a pretty jaundiced eye. On this basis, there is very little pulp stf of any great value, although a collection such as the Random House anthology which gathers together a few exceptional pulp stories is unquestionably of literary interest. The trouble with the magazines is that one has to choke to death on a huge mass of chaff before he can find any edible grain.

But I seem to have wandered somewhat from the point. Lynn challenges me to name examples. All right, here we go -- strictly ad lib and without referring to my bookshelves or to any bibliographies -- just a few science fiction books which I consider to be superior to pulp fiction of any kind, and by no stretch of the imagination a checklist of book stf:

Wells is too well known to bother with naming titles. S. Fowler Wright has written around a dozen books of scientifictional import, notably The World Below, Dream, New Gods Lead, Deluge, Dawn, Power and The Adventure of Wyndham Smith. Then there are Stapledon's seven: Last Man in London, Last and First Man, Starmaker, Odd John, Darkness and the Light, Old Man in New World, Sirius.

And how about the following: Hoyne, Intrigue on the Upper Level; Gloag, Manna; Graham, The Collapse of Homo Sapiens; Shanks, The People of the Ruins; Ferenczy, The Ants of Timothy Thummel; Ertz, Woman Alive; Capek, The Absolute at Large; Martin, General Manpower; Johnson, The Coming of the Amazons; Cole, The Auroraphone; Bellamy, Looking Backward; Thomas, The Crystal Button; (these last three aren't so hot from a literary point of view, but are certainly of interest from the idea aspect). Weinbaum, The New Adam (First published as a book, you know!); Noyes, The Pallid Giant; Trevarthen, World D; Best, The Twenty-Fifth Hour; Stevenson, A World in Spell; Huxley, Brave New World; Berasford, Hampdenshire Wonder; Phillpotts, Saurus; Griff, Lost Men in the Grass.

There are a few for you, Lynn.

page 6

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SOME BOOKS FOR BRIDGES by Francis T. Laney Lynn Bridges more or less challenges me to name "actual examples of stories which surpass the better pulps and which are science-fiction, not fantasy." In one sense this is a tough chore, since there is considerable doubt in my mind whether his and my definitions of fantasy and science-fiction will coincide. At least, he cites William Sloane's fine To Walk the Night as science fiction, while I'd not be so sure of that. Sam Russell's definitions may prove of some interest: science fiction -- stories theoretically explainable by the laws of our universe; fantasy -- stories impossible in our universe as we know it; weird -- based upon a supernatural theme. On this basis, To Walk the Night is fantasy, since possession is impossible in our universe as we know it; moreover, the atmosphere of the story is predominantly fantastic. I think perhaps the greatest stumbling block between reconciling Bridges' literary tastes and my own is the attitude with which we approach our reading. Judging from various remarks Bridges has made in FAPA, I'd inclined to think he reads chiefly for ideas, and is not especially particular as to the quality of a story as a story. If it contains concepts which set him to thinking, he probably considers it a good story, regardless of the quality of the writing; and, conversely, a story which contains no new ideas which appeal to thim probably leaves him cold, no matter how well it may be written. I'm not trying to put words in Lynn's mouth, and hope that he will set forth his criteria for story judging in concrete form for the readers of the Scientifictionist, particularly if I've misjudged his interest in the field. The newness or frequency of ideas doesn't mean a thing to me. I am interested chiefly in story value. There are certain things I demand of every piece of fiction, stf or otherwise, and if the story lacks any of these characteristics I consider it of slight worth: characterization, reality, quality of writing, freedom from stereotyped plots and incidents, freedom from hackneyed pseudo-characters, freedom from formula construction. In other words, I expect my reading matter to measure up to the standards set by first class literary authors, and if it does not do so I'm afraid I regard it with a pretty jaundiced eye. On this basis, there is very little pulp stf of any great value, although a collection such as the Random House anthology which gathers together a few exceptional pulp stories is unquestionably of literary interest. The trouble with the magazines is that one has to choke to death on a huge mass of chaff before he can find any edible grain. But I seem to have wandered somewhat from the point. Lynn challenges me to name examples. All right, here we go -- strictly ad lib and without referring to my bookshelves or to any bibliographies -- just a few science fiction books which I consider to be superior to pulp fiction of any kind, and by no stretch of the imagination a checklist of book stf: Wells is too well known to bother with naming titles. S. Fowler Wright has written around a dozen books of scientifictional import, notably The World Below, Dream, New Gods Lead, Deluge, Dawn, Power and The Adventure of Wyndham Smith. Then there are Stapledon's seven: Last Man in London, Last and First Man, Starmaker, Odd John, Darkness and the Light, Old Man in New World, Sirius. And how about the following: Hoyne, Intrigue on the Upper Level; Gloag, Manna; Graham, The Collapse of Homo Sapiens; Shanks, The People of the Ruins; Ferenczy, The Ants of Timothy Thummel; Ertz, Woman Alive; Capek, The Absolute at Large; Martin, General Manpower; Johnson, The Coming of the Amazons; Cole, The Auroraphone; Bellamy, Looking Backward; Thomas, The Crystal Button; (these last three aren't so hot from a literary point of view, but are certainly of interest from the idea aspect). Weinbaum, The New Adam (First published as a book, you know!); Noyes, The Pallid Giant; Trevarthen, World D; Best, The Twenty-Fifth Hour; Stevenson, A World in Spell; Huxley, Brave New World; Berasford, Hampdenshire Wonder; Phillpotts, Saurus; Griff, Lost Men in the Grass. There are a few for you, Lynn. page 6