{"id":13250,"date":"2020-10-02T16:29:52","date_gmt":"2020-10-02T16:29:52","guid":{"rendered":"http:\/\/sfmagazines.com\/?p=13250"},"modified":"2020-10-02T16:29:52","modified_gmt":"2020-10-02T16:29:52","slug":"new-worlds-sf-157-december-1965","status":"publish","type":"post","link":"https:\/\/sfmagazines.com\/?p=13250","title":{"rendered":"New Worlds SF #157, December 1965"},"content":{"rendered":"

\"\"<\/a><\/p>\n

Summary: Apart from Langdon Jones\u2019 story Transient<\/em>, this is another lacklustre issue for fiction. Moorcock\u2019s editorial gives an informative account of the 1965 Worldcon in London.
\n[ISFDB page<\/a>][Archive.org copy<\/a>]<\/p>\n

Other reviews:1<\/sup>
\nChristopher Priest, Vector #37 (December 1965)<\/a><\/em>, p. 20<\/p>\n

_____________________<\/p>\n

Editor, Michael Moorcock; Assistant Editor, Langdon Jones<\/p>\n

Fiction:
\nThe Wrecks of Time<\/em><\/strong> (Part 2 of 3) \u2022 serial by Michael Moorcock [as by James Colvin] \u2217<\/strong>
\nTransient <\/em><\/strong>\u2022 short story by Langdon Jones \u2217<\/strong>\u2217<\/strong>\u2217<\/strong>
\nJ Is for Jeanne<\/em><\/strong> \u2022 short story by E. C. Tubb \u2217<\/strong>
\nFurther Information<\/em><\/strong> \u2022 short story by Michael Moorcock \u2217<\/strong>
\nDance of the Cats<\/em><\/strong> \u2022 novelette by Joseph Green \u2217<\/strong>\u2217<\/strong>
\nTo Possess in Reality<\/em><\/strong> \u2022 short story by David Newton \u2217<\/strong>
\nA Mind of My Own<\/em><\/strong> \u2022 short story by Robert Cheetham –
\nErnie <\/em><\/strong>\u2022 short story by Colin R. Fry –<\/p>\n

Non-fiction:
\nCover
\nInterior artwork<\/em><\/strong> \u2022 by Harry Douthwaite, James Cawthorn
\nConventions and Conventions<\/em><\/strong> \u2022 editorial by Michael Moorcock
\nLooking Back<\/em><\/strong> \u2022 book review by Langdon Jones
\nNo Characters<\/em><\/strong> \u2022 book review by R. M. Bennett
\nDr. Peristyle\u2019s Column<\/em><\/strong> \u2022 Q&A by Brian W. Aldiss [as by uncredited]<\/p>\n

_____________________<\/p>\n

This issue leads off with the second part of Michael Moorcock\u2019s The Wrecks of Time<\/em><\/strong>, which I found even less interesting than the first\u2014probably because much of this section sees Faustaff talking to people about events happening off-stage.
\nThis instalment begins with Steifflomeis pointing a gun at Faustaff\u2019s head when they are interrupted by the arrival of a helicopter carrying Cardinal Orelli (there is no explanation as to how he found the pair in the middle of nowhere). After some chit-chat Orelli takes the two men back to his camp, and Faustaff sees that the Cardinal now possesses a disruptor\u2014acquired from one of the D-squads. Orelli also has two of the D-squad men, who appear to be in suspended animation:<\/p>\n

As they talked, Steifflomeis had bent down and was examining one of the prone D-squaders. The man was of medium height and seemed, through his black overalls, to be a good physical specimen. The thing that was remarkable was that the two prone figures strongly resembled one another, both in features and in size. They had close-cropped, light brown hair, square faces and pale skins that were unblemished but had an unhealthy texture, particularly about the upper face.
\nSteifflomeis pushed back the man\u2019s eyelid and Faustaff had an unpleasant shock as a glazed blue eye appeared to stare straight at him. It seemed for a second that the man was actually awake, but unable to move. Steifflomeis let the eyelid close again.\u00a0 p. 7<\/p><\/blockquote>\n

After a bit more of this they depart through a portal for Orelli\u2019s base on E4, a huge cathedral in the centre of a vast ice plain, the latter the product of a previous disruption. There they conduct tests on the D-squad men in Orelli\u2019s lab, and discover they are androids.
\nJust as things are getting interesting Faustaff is \u201cinvoked,\u201d i.e. bodily transferred, back to his headquarters in the E1 version of Haifa. Here he catches up on the current situation, which is that a new Earth, E-Zero, is forming, and tensions are rising between East and West on E1, with war imminent. When Faustaff goes home for a change of clothes he finds Maggy Smith waiting for him, and she tells him that all the E worlds (of which there have been thousands so far) are \u201csimulations.\u201d
\nWhen the war starts on E1, Faustaff evacuates his team to E3. There he finds out from Mahon and Ogg that the situation is worse than he thought\u2014E13 and E14 have been destroyed as well as E1\u2014and Orelli and Steifflomeis have joined forces. Orelli\u2019s cathedral on E4 has also disappeared. Meanwhile, Mahon\u2019s teams have found a cottage used by Steifflomeis which contains strange equipment.
\nFaustaff, Nancy and Mahon decide to drive to the cottage, and when they arrive they surprise Orelli before Stefflomeis and Maggy also appear\u2014at which point they are all whisked off to E-Zero.
\nThis is a lacklustre instalment of a story that mostly has Faustaff running around finding out stuff. It\u2019s just not dramatically engaging.<\/p>\n

\"\"<\/a><\/p>\n

Transient <\/em><\/strong>by Langdon Jones has what seems to be a man waking up in a hospital. Eventually (spoiler) we find out that he is a male chimpanzee whose intelligence has been artificially uplifted, but only temporarily. The realisation that he will shortly lose his new found intelligence makes the chimp cry, and he explains his emotional reaction to the doctor:<\/p>\n

\u201cI speak your language, I understand what I am and what has been done to me. And for the first time I come alive. You don\u2019t understand that; you have had intelligence all your life; you don\u2019t know what it\u2019s like to be as I was. I see how shallow was the life before this moment. You do see, don\u2019t you? Intelligence is intelligence, no matter what form it takes, or how it was created. Do you think I want to go back and live in the shadowed world I used to inhabit? And yet I am not happy as I am. How could I be when I can look at my wife, whom I love\u2014yes, love\u2014and yet whom I find as being something so far beneath me as to be laughable? And yet at the same time, the thought of returning to that state of mindless half-life fills me with dread.
\n\u201cAnd I\u2014and I\u2014don\u2019t\u2014I . . .\u201d\u00a0 p. 39<\/p><\/blockquote>\n

This is pretty good as far as it goes, but its five pages overly compresses its Flowers for Algernon<\/em> story arc.<\/p>\n

\u2022<\/p>\n

J Is for Jeanne<\/em><\/strong> by E. C. Tubb is another short piece, which starts with a woman telling a man called Paul about a recurring nightmare:<\/p>\n

The dream was always the same. There were lights and a hard, white brightness and a soft, constant humming which seemed more vibration than actual sound. There was a sense of physical helplessness and the presence of inimical shapes. But, above all, was the ghastly immobility.\u00a0 p. 41<\/p><\/blockquote>\n

When she sees a specialist called Carl, he speculates that her dream may be about the future (Dunne is name-dropped in this section, Freud in the psycho-babble in the first). Eventually there is a confrontation between Jeanne and Paul that reveals (spoiler) she is actually a malfunctioning computer, and that Paul is a troubleshooter:<\/p>\n

\u201cI thought for a minute she was going to be a stubborn bitch but she came through like a thoroughbred. I tell you, Carl, I should have been a ladies\u2019 man. I can talk them into anything\u2014well, almost.\u201d
\nCarl made a sound like a disgusted snort.
\n\u201cAll right,\u201d said Paul. \u201cSo you\u2019ve got no romantic imagination. To you this is just a hunk of machinery.\u201d
\n\u201cAnd to you it\u2019s a woman.\u201d Carl repeated his snort. \u00a0p. 48<\/p><\/blockquote>\n

This is one of those dreary stories where the writer keeps the mystery going by keeping back any information that the reader can use to figure out what is going on\u2014until they are ready to produce the reveal.<\/p>\n

\"\"<\/a><\/p>\n

Further Information<\/em><\/strong> by Michael Moorcock is his second \u2018Jerry Cornelius\u2019 story and a sequel to Preliminary Information<\/em> in New Worlds<\/em> #153 (August 1965). Its random or inconsequential plot is a big step towards the type of fully blown New Wave story the magazine would later run (mostly in its large-size issue incarnation).
\nThis one starts conventionally enough though, with a long action sequence that has Jerry, Miss Brunner and several others arrive on the Normandy coast to storm Cornelius\u2019s father\u2019s house (now owned by Jerry\u2019s brother Frank). There are lots of SF gadgets on display as Jerry and his team fight through the fortified house\u2019s defences (stroboscopic towers, needle guns, LSD gas, nerve bombs, etc.) and there is the odd deadpan remark as well so, initially at least, the story is in territory adjacent to the James Bond movies.
\nLater on however, after they manage to pin down Frank, events become rather more random: Jerry leaves the fight and the house to find his sister, Catherine. When he gets to her cottage bedroom Jerry finds Frank there and, in the ensuing needle gun duel, their sister is killed. During a later interrogation of Frank (who is captured during the skirmish) by Miss Brunner, she finds out that the microfilm they seek is supposedly in the vaults.
\nWhen Jerry and Miss Brunner go looking for the film they can\u2019t find it, and then find out they are trapped by the guards outside. Cornelius turns on the stroboscopic towers to aid their escape, and they make it to the cliffs where they jump into the sea. Cornelius briefly comes to in a boat, and then awakens fully in Sunnydale Nursing home.
\nThis story appears to\u00a0 consist of a number of random situations through which pass a number of arch and\/or disinterested characters: this is pretty standard for the \u2018Jerry Cornelius\u2019 stories, and explains why I never had much time for them. I note in passing that the story has a permissive sixties feel (e.g. drug and genital references, etc.).<\/p>\n

\u2022<\/p>\n

Dance of the Cats<\/em><\/strong> by Joseph Green sees the return of Silva de Fonseca from Tunnel of Love<\/em> (New Worlds<\/em> #146, January 1965), and opens with him and his movie making partner, Aaron Gunderson, trying to obtain a permit to film the cat people on Episilon Eridani. The government bureaucrat is ready to grant their request\u2014as long as they keep their eyes on another man, Danyel Burkalter, the son of a circus owner who has used his father\u2019s connection to bypass the official to get a permit.
\nBurkhalter next appears in the story when the de Fonesca and Gunderson land next to his spaceship on Epsilon Eridani\u2014where the pair clock him for a lothario and braggart\u2014and again at the end when they (spoiler) stop him from abducting the cat people\u2019s priestess and her dancing troupe.
\nIn between these two events this old school SF story examines an alien society of ruling cat people and subservient dog people. Key to this relationship are the cat-people\u2019s famous dancers (who the pair are there to film) whose performance, Aaron later discovers, is the prelude to a telepathic flight to the dog people\u2019s settlement where the cat people feed on the latters\u2019 life energy:<\/p>\n

\u201cEat, Oh travellers! Drink, Oh travellers! Feast, Oh travellers! Feast!\u201d<\/em>
\nThe ground was rushing upward. He sensed the entire tribe of Cat-people diving with him. Somewhere ahead he felt the woman who led them reach the ground, and abruptly the sense of communion with her was gone. He was alone, but it did not matter now. Close beneath him in the darkness, like flickering rosined torches in ancestral castle halls, bright concentrations of life-force\u2014energy\u2014pleasure awaited his coming. As he drew close he realized the lights were Dogpeople. His headlong rush slowed as he neared them and he exerted some not-understood means of control and veered away from the first one, a male, moved on past the next, an old woman, passed the next, already taken by a companion, and reached a young girl, nubile, strong, and sullenly acquiescent. He entered her quickly, and possession had something of the sensual pleasure of sex, the taste of ambrosia, the pounding excitement of triumph in battle. The total emotional experience was the most pleasing he had ever known, and he ignored the dimly sensed resentment in his captive. He revelled in this new and unexplored wonderland without conscious feeling, without thought, without consideration.\u00a0 p. 84<\/p><\/blockquote>\n

The two men put a stop to these rapey shenanigans after they save priestess and before they leave the planet.
\nThis is competently done, but the psi gimmick is unlikely and contrived.<\/p>\n

\"\"<\/a><\/p>\n

To Possess in Reality<\/em><\/strong> by David Newton starts in a typical fairy tale setting, with unicorns and castles, and princes with lutes . . . and then:<\/p>\n

Far, far away beyond, the icewhite mountains a dragon roared . . . And yet not a dragon\u2019s roar! A spaceship slid down to the meadow upon a pillar of noisy sunlight. In the dead silence which followed the cutting of the engines the cracking of the rocket-tubes as they cooled was clearly audible on the highest coign of the Castle. The Prince, without a second\u2019s hesitation, gallantly leapt into the unicorn\u2019s saddle and cantered across to the ship. The Lord watched his future son-in-law\u2019s courage with pride, his handwringing daughter with love, awe, fear, hope and despair.
\nAs the unicorn crossed the shrivelled grass-circle to the tail vanes of the vessel its milky paws inked with ash.\u00a0 p. 95<\/p><\/blockquote>\n

After Xavier, the spaceship pilot, is welcomed by the Prince he goes to the castle for a meal (and some light flirting with the princess). After a night there he returns to his ship and tries to fix his spacial position before realising that, when he jumped to escape the alien fleet, he actually jumped into an atom of his own memory. A later romantic complication with the princess forces Xavier to jump back to the normal world (taking the princess with him).
\nThere then follows an anti-climactic section where, after his initial success with the princess, Xavier hits a rough patch. His analyst tells him he has lost his dream.
\nThe story finishes with a massive spacefleet arriving over the Earth\u2014but it isn\u2019t the aliens that Xavier fled from previously: the Prince has come to rescue his Princess (although how a fairy tale prince in one of Xavier\u2019s brain cells manages to develop a space drive to jump out of his mind is not explained).
\nThis is readable enough but the world-in-an-atom trope is not convincing.<\/p>\n

\u2022<\/p>\n

A Mind of My Own<\/em><\/strong> by Robert Cheetham is narrated by the \u201cSensitive\u201d of a Sensitive\/Traveller empath pair (the former stays in Earth while the latter explores other planets). After this setup we hear about the about Mike the Traveller\u2019s explorations, and then about a woman, Juline, who becomes his lover (the Sensitive narrator vicariously experiences their relationship):<\/p>\n

When Juline came to work at the Centre, every man in the place attempted to court her. She was a tall, graceful girl with glistening red-gold hair. Her eyes, as I remembered so often through Mike\u2019s eyes, were a brilliant green, and her heart laughed easily along with her lovely mouth. She had every free man at her feet.
\nAnd she chose Mike, surrendering to him quickly and wholely.
\nWe\u2014that is\u2014Mike was stunned by his good fortune, and at first treated her with the deference one has for a fragile ornament. This did not last long, however, as his natural virility gained the upper hand and his attitude became more one of the dominating male. This was a good thing, for Juline had been too wild and free all her life, used to worship and supplication. She needed a strong arm, not only to support her, but also to direct her. Under this new treatment Juline flowered, and it became apparent to the rest of the field that she was very much Mike\u2019s woman. \u00a0p. 108<\/p><\/blockquote>\n

Needless to say (spoiler) an alien kills Mike on his next exploration trip. The narrator is subsequently plagued with doubts that his jealousy delayed his warning to Mike about the beast\u2014but then he realises that Juline would never be interested in \u201ca wizened, egg-bald, four foot tall Sensitive like me!\u201d
\nThere is probably the seed of a better story here, but (even excepting its dated attitudes3<\/sup>) this is pretty poor beginner\u2019s piece that has a number of typical flaws (tell instead of show, weak twist ending, etc.).<\/p>\n

\"\"<\/a><\/p>\n

Ernie <\/em><\/strong>by Colin R. Fry is this writers third and last appearance in New Worlds<\/em>4<\/sup> and it opens with the narrator, a \u201crocketman,\u201d losing all his money at a casino, fighting with the bouncers, and getting thrown into the street. There he is offered a job as a supervisor in an etherium mine on Luna. En route he meets two (mutant) dwarves also destined for the mines: one of them, a hunchback, tells the narrator he is going there to get revenge.
\nIn the remainder of the story we see that the dwarves\/miners are treated worse than animals:<\/p>\n

They could get into cracks and crevices where you or I would hesitate to send a dachshund after a rabbit And they had tough hides They could stand up to scrapings against those rough, sharp rocks that would give you or me septic cuts. They just got scratched. Eventually, of course, they got a lot of scratches and some of them did go septic. Then the doctor certified them as incurable, and the welfare officer killed them humanely in the gas chamber just outside the camp. There was even a priest who used to come in from Moon City and hear their last confessions, if he was wanted. Allen had that place really well equipped.\u00a0 p. 113<\/p><\/blockquote>\n

The story ends with a fight between the vengeful dwarf and another of the miners, but we never find out what the dispute was about.
\nThis is not only a unlikely story (does anyone think that a human race capable of flight to the moon will use manual labour rather than machines for mining?), but a pointless and needlessly unpleasant one (and it seems typical of new writers who, when they little to say, or no real story to tell, substitute edginess, violence, or nihilism instead).
\nI note the use of the word \u201cshit\u201d on p. 114, the first usage I think I\u2019ve seen of this word in the magazine.<\/p>\n

\u2022\u2022\u2022<\/p>\n

The anonymous Cover<\/em><\/strong> looks like another random psychedelic swirl from the photographic agency\u2014but I like it anyway, and it\u2019s better than the last two covers.
\nThere are two pieces of Interior artwork<\/em><\/strong> this issue: one is by Harry Douthwaite, and the other is from James Cawthorn.
\nConventions and Conventions<\/em><\/strong>, Michael Moorcock\u2019s editorial, begins with a report on the recent Word Science Fiction Convention in London:<\/p>\n

The mood of this year\u2019s World Science Fiction Convention, held over the August Bank Holiday in London this year, was perhaps a trifle less convivial on the whole and a trifle more business-like than previous conventions held in this country, but what marked it was the interest shown by writers, readers, publishers and editors in the improving of the overall level of the field. Complacency and cynicism were both markedly absent; literate, realistic opinions and suggestions were very much there. There were very few who disagreed that the field could not do with extra sophistication, though, sadly, weary cries of \u2018Shame!\u2019 were heard, notably from John W. Campbell, editor of Analog<\/em> (which won this year\u2019s Hugo again) who spoke for some length at the opening discussion (\u2018Science Fiction, the Salvation of the Modern Novel\u2019), telling us that Homer was a simple Bronze Age barbarian who told a good story and that no-one read him for the poetry\u2014or, indeed, because of the poetry. Luckily, the voices of hope predominated, principally in the shape of Miss Judith Merril, Mr. Brian W. Aldiss and Mr. Harry Harrison. Hope was, in fact, fully restored by John Brunner\u2019s erudite talk on certain marked aspects of science fiction, a talk which we hope to reprint in a slightly abridged form in a later issue.\u00a0 p. 4<\/p><\/blockquote>\n

Moorcock then adds that the field is jettisoning \u201csome of its less attractive cargo\u201d but doesn\u2019t give any details. Later he gives an account of a lively panel:<\/p>\n

On the last day, Monday, a panel of politics in science fiction found John W. Campbell advocating slavery as a reasonable system (\u2018There are always bad masters\u2014like the fool of a farmer who beats a good horse to death\u2014but . . .\u2019) and what he called \u2018benevolent dictatorship\u2019. The panel soon developed into a discussion between Mr. Campbell and John Brunner, who make excellent opponents, and, with some interesting opinions coming from the floor, showed that whilst the majority of people there disagreed with Mr. Campbell, he had certainly succeeded in provoking an interesting discussion.\u00a0 pp. 4-5<\/p><\/blockquote>\n

Moorcock concludes his con report by stating that it was \u201can extremely satisfying and stimulating convention,\u201d lists a number of the writers who attended, and says that the exceptionally large attendance shows how popular SF has become.
\nThe rest of the editorial discusses the second issue of Brian W. Aldiss\u2019s and Harry Harrison\u2019s critical magazine SF Horizons<\/em> #2, in particular Brian W. Aldiss\u2019s article:<\/p>\n

[Aldiss] takes three writers, Lan Wright, Donald Malcolm and J. G. Ballard and uses their work to show what is right and what is wrong with the British scene. His criticism is positive and thoughtful and his tendency to make fun of the afflicted quite often has you laughing in spite of yourself. We might point out that we only approve of making fun of the afflicted when the afflicted appear to wish their own afflictions on everyone else.\u00a0 p. 123<\/p><\/blockquote>\n

He concludes by saying that SF Horizons<\/em> is \u201cstill the most stimulating magazine of its kind ever to appear in the sf world.\u201d
\nLooking Back<\/em><\/strong> is a long book review by Langdon Jones examining Dandelion Wine<\/em>, which begins with a look at the nostalgia sub-genre:<\/p>\n

Bradbury has received a lot of unfavourable criticism, even from such balanced sources as my colleague, James Colvin, a great deal of which I think is completely unfounded. In general, Bradbury\u2019s critics attack the escapist element in his writing. A glance at a few American sf and fantasy books should be enough to demonstrate that the easiest way of cashing in is to write about the Good Old Days.
\n[. . .]
\nThis tendency is, granted, unhealthy, but at the same time, quite understandable. The trouble is, from the writing point of view, that this tendency is likely to produce badly written stuff, which gets by purely on the overwhelmingly sickly sentimentality and nostalgia it contains. However, the critics of this backward-looking genre are likely\u2014like Mr. Colvin\u2014to be misled into criticising every single work that contains these elements.\u00a0 p. 119<\/p><\/blockquote>\n

In his subsequent examination of the book (which he describes as a \u201ccuriously heady brew\u201d) he also has a go at another group of readers:<\/p>\n

There are, as I have discovered, some very, very literal people in this world. Those who would rather spend their time crabbily counting up the halfpennies of logic whilst ignoring the fluttering riches of meaning, I advise to keep well away from this book and this author. Those who would prefer the transparent but sweaty engineer working frantically on his logical machinery while blue-scaled Venusian lizards batter down the papier-mache door will not feel at home in Green Town with its solid, but distorted perspectives. In parenthesis I would point out how strange it is that this kind of reader will often condemn an author\u2019s work on the grounds of non-realism over some trifling technical \u2018error\u2019 that isn\u2019t really an error at all, while the stuff that they are fond of reading is as unreal (in an imaginative sense) as it possibly could be.\u00a0 p. 120<\/p><\/blockquote>\n

The whole review is worth reading, both for its description of the book (which I haven\u2019t mentioned here), and the related contextual comments (two of which I\u2019ve shown above).
\nNo Characters<\/em><\/strong> by R. M. Bennett is a short review of the collection Somewhere a Voice<\/em> by Eric Frank Russell. According to Bennett it is a mixed bag with a couple of good stories (the title story and I Am Nothing<\/em>), and he expected better from this author.
\nDr. Peristyle\u2019s Column<\/em><\/strong> has more reader questions and Aldiss\u2019s waspish answers. This is his reply to Betty Pierce of Diss, Norfolk, when she asks why writers try to give her more than a story:<\/p>\n

A prize question, and your scribe is floored by it. I suppose the answer is that there are writers who write for the likes of you, madam, but the good ones hope to avoid you. In your ideal world, publishers would presumably publish only synopses of the stories they received. A true writer\u2019s answer to you would be, possibly, that the interest never lies entirely in a story but in the details of how it happened and who it happened to, and also whether what happened had different effects on all concerned. Many writers, too, are as interested in how to tell what happened as in what happened; and they may be the individuals who are more interested in their subject matter than their readers.\u00a0 p. 125<\/p><\/blockquote>\n

So\u2014insult your questioner, mischaracterise what they want, and end with waffle. I think this is the last Peristyle column, which is probably for the best as a little of this kind of thing goes a long way.<\/p>\n

\u2022\u2022\u2022<\/p>\n

Another poor issue for fiction, with Editor Moorcock contributing most of the chaff. At least the non-fiction is interesting.\u00a0 \u25cf<\/p>\n

_____________________<\/p>\n

1. Christopher Priest takes over the magazine review duties in Vector #37, January 1966<\/a><\/em> (Graham Hall reappears in later issues to co-host the department).
\nPriest begins by saying that Colvin\/Moorcock\u2019s serial \u201chas latent plot gimmicks and pseudoscientific paraphernalia\u201d but \u201cit reads quickly and well\u201d; Jones\u2019 Transient<\/em> \u201cis similar to Keyes\u2019 \u201cFlowers for Algernon\u201d, but it doesn\u2019t create the same poignancy or character-identification that that classic short story did.\u201d Tubb\u2019s J for Jeanne<\/em> is slight, and Green\u2019s Dance of the Cats<\/em> \u201cstraight SF\u201d and \u201cvery good of its kind\u201d. Newton\u2019s To Possess in Reality<\/em> is \u201cdifficult to describe without giving away too much\u201d but \u201ca few fantasy cliches come off the worse in the process.\u201d Cheetham\u2019s A Mind of My Own<\/em> is \u201ca trifle,\u201d and Fry\u2019s Ernie<\/em> is a \u201csomewhat sadistic story\u201d that is \u201ca bit too callous, but makes its point.\u201d
\nThe story Priest liked least appears to be Michael Moorcock\u2019s Further Information<\/em>:<\/p>\n

This is a pointless story with esoteric footnotes, awkward and unnecessary sex and a quite obscure plot.
\nNot recommended.\u00a0 p. 21<\/p><\/blockquote>\n

Priest concludes:<\/p>\n

A fair issue, not properly representative of the average quality.\u00a0 p. 21<\/p><\/blockquote>\n

2. I\u2019d always thought of Joseph Green as an Analog <\/em>writer who occasionally slummed in New Worlds<\/em>, but checking his early publication record shows him to be very much a prot\u00e9g\u00e9 of John Carnell (this list of stories is partially from Galactic Central<\/a>):<\/p>\n

The Engineer<\/em> (ss) New Worlds Science Fiction<\/em> Feb 1962
\nInitiation Rites<\/em> (ss) New Worlds Science Fiction<\/em> Apr 1962 [Loafers]
\nThe Colonist<\/em> (nv) New Worlds Science Fiction<\/em> Aug 1962 [Loafers]
\nOnce Around Arcturus<\/em> (nv) If<\/em> Sep 1962
\nLife-Force<\/em> (ss) New Worlds Science Fiction<\/em> Nov 1962 [Loafers]
\nTransmitter Problem<\/em> (ss) New Worlds Science Fiction<\/em> Dec 1962 [Loafers]
\nThe Fourth Generation<\/em> (nv) Science Fiction Adventures<\/em> (UK) #30 1963
\nFight on Hurricane Island<\/em> (ss) Argosy<\/em> (UK) Jun 1963
\nThe-Old-Man-in-the-Mountain<\/em> (nv) New Worlds Science Fiction<\/em> Jun 1963 [Loafers]
\nRefuge<\/em> (nv) New Worlds Science Fiction<\/em> Jul 1963 [Loafers]
\nHaggard Honeymoon<\/em> (nv) (with James Webbert) New Writings in SF #1 <\/em>1964
\nThe Creators<\/em> (ss) New Writings in SF #2 <\/em>1964
\nSingle Combat<\/em> (ss) New Worlds Science Fiction<\/em> Jul\/Aug 1964
\nTreasure Hunt<\/em> (nv) New Writings in SF #5<\/em> 1965
\nTunnel of Love<\/em> (ss) New Worlds Science Fiction <\/em>Jan 1965 [Silva de Fonseca]
\nThe Decision Makers<\/em> (nv) Galaxy Science Fiction<\/em> Apr 1965 [Allan Odegaard (Conscience)]
\nDance of the Cats<\/em> (nv) New Worlds Science Fiction<\/em> Dec 1965 [Silva de Fonseca]
\nBirth of a Butterfly<\/em> (nv) New Writings in SF #10<\/em> 1967<\/p>\n

Most of Green\u2019s later stories were in F&SF<\/em> and Analog<\/em> (although there were also another three in New Writings in SF<\/em>).<\/p>\n

3. I notice that the character\u2019s attitudes towards women in this 1960\u2019s magazine issue are probably worse than in the majority of the 1940\u2019s and 50\u2019s magazines I\u2019ve read. Apart from the passage about Juline from the Cheetham story (\u201cJuline had been too wild and free all her life, used to worship and supplication. She needed a strong arm . . . to direct her,\u201d etc.), Nancy in the Moorcock serial only ever appears when Faustaff wants fed or to get his leg over, and there is also the \u201cbitch\u201d comment in the Tubb story.<\/p>\n

4. Colin R. Fry\u2019s ISFDB page is here<\/a>: three stories published in New Worlds<\/em> during 1964-65, and one in Fantastic <\/em>in 1965. \u00a0\u25cf<\/p>\n\"rss\"<\/a>\"rss\"<\/a><\/span>","protected":false},"excerpt":{"rendered":"

Summary: Apart from Langdon Jones\u2019 story Transient, this is another lacklustre issue for fiction. Moorcock\u2019s editorial gives an informative account of the 1965 Worldcon in London. [ISFDB page][Archive.org copy] Other reviews:1 Christopher Priest, Vector #37 (December 1965), p. 20 _____________________ Editor, Michael Moorcock; Assistant Editor, Langdon Jones Fiction: The Wrecks of Time (Part 2 of […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","enabled":false},"version":2}},"categories":[4],"tags":[],"class_list":["post-13250","post","type-post","status-publish","format-standard","hentry","category-new-worlds"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p6Pcj7-3rI","jetpack-related-posts":[],"jetpack_likes_enabled":true,"_links":{"self":[{"href":"https:\/\/sfmagazines.com\/index.php?rest_route=\/wp\/v2\/posts\/13250","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/sfmagazines.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/sfmagazines.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/sfmagazines.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/sfmagazines.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=13250"}],"version-history":[{"count":6,"href":"https:\/\/sfmagazines.com\/index.php?rest_route=\/wp\/v2\/posts\/13250\/revisions"}],"predecessor-version":[{"id":14877,"href":"https:\/\/sfmagazines.com\/index.php?rest_route=\/wp\/v2\/posts\/13250\/revisions\/14877"}],"wp:attachment":[{"href":"https:\/\/sfmagazines.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=13250"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/sfmagazines.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=13250"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/sfmagazines.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=13250"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}