Samuel Delany on "The Star Pit"

"Todd Mason [email protected] [delany-list]" <[email protected]> Mon, 17 Feb 2020 21:44:26 +0000 (UTC)
Newsgroups gmane.culture.sf.delany
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https://www.facebook.com/photo.php?fbid=3D10223192107178822&set=3Da.2081641=
728452&type=3D3
Samuel Delany on Facebook:Though my first commercial short story sale was =
=E2=80=9CAye, and Gomorrah . . .=E2=80=9D to Harlan Ellison=E2=80=99s *Dang=
erous Visions*, my first written short science fiction work was the long st=
ory, =E2=80=9CThe Star Pit.=E2=80=9D The story was eventually sold to *Worl=
ds of Tomorrow* under the editorship of Frederik Pohl when he was the edito=
r of three magazines, one of which had been inherited from H. L. Gold, toge=
ther known as The Galaxy Combine. Eventually, the story became a two-hour r=
adio play that was directed by Daniel Landow and broadcast over [NYC Pacifi=
ca station] WBAI, where it became something of a New York tradition for the=
 Thanksgiving week and was taken out and played every year for slightly ove=
r a decade.
I want to talk about the writing, however. Initially, the middle section of=
 the story was written first, before my first trip to Europe in October =E2=
=80=9965, dealing with Ratlit, Alegra, and the Golden. I showed it to my fr=
iend Ana Perez, who said that it needed something but wasn=E2=80=99t sure w=
hat, and in the course of my thinking about it over the next month, it occu=
rred to me that the main story was not really about the Ratlit but about th=
e narrator, Vyme. What it needed was what led up to his isolation and tende=
ncy to take over as surrogate parent for the young people who came through =
the Star Pit, which was essentially a large space station that served as a =
repair city for starships going beyond the galaxy. After I came back from E=
urope, one of the first things I did was re-start the story from the place =
it begins today, showing Vyme=E2=80=99s young manhood and his failed attemp=
t to have his own family. Before I had finished the new section, I also rea=
lized that, for the story to feel=E2=80=94to me=E2=80=94complete, it had to=
 be extended beyond where I=E2=80=99d ended it to show a more successful at=
tempt to mentor another lost child, in this case the Golden boy Androcles, =
who, for a syllable, he thinks might be his own dead son, Antoni, killed so=
 long ago in the war. To tie the vastly differing locations together, I nee=
ded a metaphor for the new ecological sensitivity, which produced the ant c=
olony/ecologariums, one and two.

I date my stories at the time I complete the first draft, in this case Octo=
ber =E2=80=9965, before I left New York for Europe. The additions to it, ho=
wever, were written after my return in =E2=80=9966 and possibly as late as =
the beginning of =E2=80=9967, when I submitted it to Fred at *Worlds of Tom=
orrow*. At that point, the writers used to get galleys on their stories, an=
d I remember a rather strange moment when I discovered that Fred had cut on=
e line from the tale for purely sexual reasons, which I thought was majorly=
 damaging to the tale: At one point during the conversation in the dark han=
gar between Vyme and Poloscki when you discover that they have been sexual =
partners before you learn that Poloscki is female, Vyme says to his fellow =
mechanic, =E2=80=9C. . . and you=E2=80=99re good in bed,=E2=80=9D which was=
 the line Fred cut. For one moment in the written text, you wonder if there=
 isn=E2=80=99t a gay relationship involved. At the time, a young woman abou=
t my age, Judy-Lynn Benjamin, who had been a science fiction fan for a long=
 time and was a dwarf, was working for Fred. I had written a two-page lette=
r declaring that if this line had to be cut, I did not want the story publi=
shed. I handed it to Judy, who said she would give it to Fred. A day or two=
 later, it occurred to me that the story would probably be republished in m=
y own anthology at some point, and I could re-insert the line, and so I wen=
t back to the office. Fred was still not there, but Judy was there, and I s=
aid that if she hadn=E2=80=99t given the letter to him yet, could she possi=
bly return it to me. She said, from her desk with a smile, that she had rea=
d the letter herself and decided I probably wouldn=E2=80=99t go on feeling =
that way and had thrown the letter in the garbage and that Fred didn=E2=80=
=99t need to see it. I was actually quite grateful because the cost of kill=
ing a 60-page story in a magazine at the galley stage is pretty steep, and =
I would probably have had to foot the bill. At any rate, *Worlds of Tomorro=
w* came out in February 1967, and though it was the first and longest story=
 in the issue, my name was not on the cover. At that point, I did not have =
a moniker that was considered to be a draw for readers. The story was repub=
lished in SF-12, edited by Judith Merril=E2=80=94with the line re-inserted.


Sometimes, however, it is important to figure out where the heart of your s=
tory actually lies, and I do not think, without the beginning and ending, t=
he tale wouldn't have been as interesting or satisfactory.
forward by TMhttps://socialistjazz.blogspot.com/2020/01/fridays-forgotten-b=
ooks-and-more-links.html
https://socialistjazz.blogspot.com/2012/12/new-editions-of-algis-budrys-and=
-samuel.html










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rit;"><span style=3D"color: rgb(144, 148, 156);font-family: inherit;"><a hr=
ef=3D"https://www.facebook.com/photo.php?fbid=3D10223192107178822&amp;set=
=3Da.2081641728452&amp;type=3D3" data=3D"https://www.google.com/url?q=3Dhtt=
ps://www.facebook.com/photo.php?fbid%3D10223192107178822%26set%3Da.20816417=
28452%26type%3D3&amp;source=3Dgmail&amp;ust=3D1582059890147000&amp;usg=3DAF=
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e=3D3</a></span><div><br></div></span></div></div></div></div></div></div><=
/div></div><div id=3D"ydp43142733m_-8570660186988262323js_5" style=3D"font-=
size: 14px;margin-top: 6px;color: rgb(29, 33, 41);"><div><span style=3D"col=
or: rgb(97, 103, 112);font-size: 16px;font-style: italic;">Samuel Delany on=
 Facebook:</span></div><div>Though my first commercial short story sale was=
 =E2=80=9CAye, and Gomorrah . . .=E2=80=9D to Harlan Ellison=E2=80=99s *Dan=
gerous Visions*, my first written short science fiction work was the long s=
tory, =E2=80=9CThe Star Pit.=E2=80=9D The story was eventually sold to *Wor=
lds of Tomorrow* under the editorship of Frederik Pohl when he was the edit=
or of three magazines, one of which had been inherited from H. L. Gold, tog=
ether known as The <i>Galaxy</i> Combine. Eventually, the story became a tw=
o-hour radio play that was directed by Daniel Landow and broadcast over [NY=
C Pacifica station] WBAI, where it became something of a New York tradition=
 for the Thanksgiving week and was taken out and played every year for slig=
htly over a decade.</div><p style=3D"margin: 6px 0px;font-family: inherit;"=
>I want to talk about the writing, however. Initially, the middle section o=
f the story was written first, before my first trip to Europe in October =
=E2=80=9965, dealing with Ratlit, Alegra, and the Golden. I showed it to my=
 friend Ana Perez, who said that it needed something but wasn=E2=80=99t sur=
e what, and in the course of my thinking about it over the next month, it o=
ccurred to me that the main story was not really about the Ratlit but about=
 the narrator, Vyme. What it needed was what led up to his isolation and te=
ndency to take over as surrogate parent for the young people who came throu=
gh the Star Pit, which was essentially a large space station that served as=
 a repair city for starships going beyond the galaxy. After I came back fro=
m Europe, one of the first things I did was re-start the story from the pla=
ce it begins today, showing Vyme=E2=80=99s young manhood and his failed att=
empt to have his own family. Before I had finished the new section, I also =
realized that, for the story to feel=E2=80=94to me=E2=80=94complete, it had=
 to be extended beyond where I=E2=80=99d ended it to show a more successful=
 attempt to mentor another lost child, in this case the Golden boy Androcle=
s, who, for a syllable, he thinks might be his own dead son, Antoni, killed=
 so long ago in the war. To tie the vastly differing locations together, I =
needed a metaphor for the new ecological sensitivity, which produced the an=
t colony/ecologariums, one and two.</p><p style=3D"margin: 6px 0px;font-fam=
ily: inherit;">I date my stories at the time I complete the first draft, in=
 this case October =E2=80=9965, before I left New York for Europe. The addi=
tions to it, however, were written after my return in =E2=80=9966 and possi=
bly as late as the beginning of =E2=80=9967, when I submitted it to Fred at=
 *Worlds of Tomorrow*. At that point, the writers used to get galleys on th=
eir stories, and I remember a rather strange moment when I discovered that =
Fred had cut one line from the tale for purely sexual reasons, which I thou=
ght was majorly damaging to the tale: At one point during the conversation =
in the dark hangar between Vyme and Poloscki when you discover that they ha=
ve been sexual partners before you learn that Poloscki is female, Vyme says=
 to his fellow mechanic, =E2=80=9C. . . and you=E2=80=99re good in bed,=E2=
=80=9D which was the line Fred cut. For one moment in the written text, you=
 wonder if there isn=E2=80=99t a gay relationship involved. At the time, a =
young woman about my age, Judy-Lynn Benjamin, who had been a science fictio=
n fan for a long time and was a dwarf, was working for Fred. I had written =
a two-page letter declaring that if this line had to be cut, I did not want=
 the story published. I handed it to Judy, who said she would give it to Fr=
ed. A day or two later, it occurred to me that the story would probably be =
republished in my own anthology at some point, and I could re-insert the li=
ne, and so I went back to the office. Fred was still not there, but Judy wa=
s there, and I said that if she hadn=E2=80=99t given the letter to him yet,=
 could she possibly return it to me. She said, from her desk with a smile, =
that she had read the letter herself and decided I probably wouldn=E2=80=99=
t go on feeling that way and had thrown the letter in the garbage and that =
Fred didn=E2=80=99t need to see it. I was actually quite grateful because t=
he cost of killing a 60-page story in a magazine at the galley stage is pre=
tty steep, and I would probably have had to foot the bill. At any rate, *Wo=
rlds of Tomorrow* came out in February 1967, and though it was the first an=
d longest story in the issue, my name was not on the cover. At that point, =
I did not have a moniker that was considered to be a draw for readers. The =
story was republished in <i>SF-12</i>, edited by Judith Merril=E2=80=94with=
 the line re-inserted.</p><p style=3D"margin: 6px 0px 0px;font-family: inhe=
rit;" dir=3D"ltr" data=3D"false"></p><div>Sometimes, however, it is importa=
nt to figure out where the heart of your story actually lies, and I do not =
think, without the beginning and ending, the tale wouldn't have been as int=
eresting or satisfactory.</div><div><br></div><div dir=3D"ltr" data=3D"fals=
e"><i>forward by TM</i></div><div dir=3D"ltr" data=3D"false"><a href=3D"htt=
ps://socialistjazz.blogspot.com/2020/01/fridays-forgotten-books-and-more-li=
nks.html" rel=3D"nofollow" target=3D"_blank" class>https://socialistjazz.bl=
ogspot.com/2020/01/fridays-forgotten-books-and-more-links.html</a><br></div=
><div dir=3D"ltr" data=3D"false"><a href=3D"https://socialistjazz.blogspot.=
com/2012/12/new-editions-of-algis-budrys-and-samuel.html" rel=3D"nofollow" =
target=3D"_blank" class>https://socialistjazz.blogspot.com/2012/12/new-edit=
ions-of-algis-budrys-and-samuel.html</a><br></div><div><br></div><div><br><=
/div><div><br></div><div><br></div><div><br></div><div><br></div><div><br><=
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}

#ygrp-mkp .ad p {
  margin: 0;
}

#ygrp-mkp .ad a {
  color: #0000ff;
  text-decoration: none;
}
  #ygrp-sponsor #ygrp-lc {
  font-family: Arial;
}

#ygrp-sponsor #ygrp-lc #hd {
  margin: 10px 0px;
  font-weight: 700;
  font-size: 78%;
  line-height: 122%;
}

#ygrp-sponsor #ygrp-lc .ad {
  margin-bottom: 10px;
  padding: 0 0;
}

  #actions {
    font-family: Verdana;
    font-size: 11px;
    padding: 10px 0;
  }

  #activity {
    background-color: #e0ecee;
    float: left;
    font-family: Verdana;
    font-size: 10px;
    padding: 10px;
  }

  #activity span {
    font-weight: 700;
  }

  #activity span:first-child {
    text-transform: uppercase;
  }

  #activity span a {
    color: #5085b6;
    text-decoration: none;
  }

  #activity span span {
    color: #ff7900;
  }

  #activity span .underline {
    text-decoration: underline;
  }

  .attach {
    clear: both;
    display: table;
    font-family: Arial;
    font-size: 12px;
    padding: 10px 0;
    width: 400px;
  }

  .attach div a {
    text-decoration: none;
  }

  .attach img {
    border: none;
    padding-right: 5px;
  }

  .attach label {
    display: block;
    margin-bottom: 5px;
  }

  .attach label a {
    text-decoration: none;
  }
=20=20
  blockquote {
    margin: 0 0 0 4px;
  }

  .bold {
    font-family: Arial;
    font-size: 13px;
    font-weight: 700;
  }

  .bold a {
    text-decoration: none;
  }

  dd.last p a {
    font-family: Verdana;
    font-weight: 700;
  }

  dd.last p span {
    margin-right: 10px;
    font-family: Verdana;
    font-weight: 700;
  }

  dd.last p span.yshortcuts {
    margin-right: 0;
  }

  div.attach-table div div a {
    text-decoration: none;
  }

  div.attach-table {
    width: 400px;
  }

  div.file-title a, div.file-title a:active, div.file-title a:hover, div.fi=
le-title a:visited {
    text-decoration: none;
  }

  div.photo-title a, div.photo-title a:active, div.photo-title a:hover, div=
..photo-title a:visited {
    text-decoration: none;
  }

  div#ygrp-mlmsg #ygrp-msg p a span.yshortcuts {
    font-family: Verdana;
    font-size: 10px;
    font-weight: normal;
  }

  .green {
    color: #628c2a;
  }

  .MsoNormal {
    margin: 0 0 0 0;
  }

  o {
    font-size: 0;
  }

  #photos div {
    float: left;
    width: 72px;
  }

  #photos div div {
    border: 1px solid #666666;
    height: 62px;
    overflow: hidden;
    width: 62px;
  }

  #photos div label {
    color: #666666;
    font-size: 10px;
    overflow: hidden;
    text-align: center;
    white-space: nowrap;
    width: 64px;
  }

  #reco-category {
    font-size: 77%;
  }

  #reco-desc {
    font-size: 77%;
  }

  .replbq {
    margin: 4px;
  }

  #ygrp-actbar div a:first-child {
   /* border-right: 0px solid #000;*/
    margin-right: 2px;
    padding-right: 5px;
  }

  #ygrp-mlmsg {
    font-size: 13px;
    font-family: Arial, helvetica,clean, sans-serif;
    *font-size: small;
    *font: x-small;
  }

  #ygrp-mlmsg table {
    font-size: inherit;
    font: 100%;
  }

  #ygrp-mlmsg select, input, textarea {
    font: 99% Arial, Helvetica, clean, sans-serif;
  }

  #ygrp-mlmsg pre, code {
    font:115% monospace;
    *font-size:100%;
  }

  #ygrp-mlmsg * {
    line-height: 1.22em;
  }

  #ygrp-mlmsg #logo {
    padding-bottom: 10px;
  }


  #ygrp-msg p a {
    font-family: Verdana;
  }

  #ygrp-msg p#attach-count span {
    color: #1E66AE;
    font-weight: 700;
  }

  #ygrp-reco #reco-head {
    color: #ff7900;
    font-weight: 700;
  }

  #ygrp-reco {
    margin-bottom: 20px;
    padding: 0px;
  }

  #ygrp-sponsor #ov li a {
    font-size: 130%;
    text-decoration: none;
  }

  #ygrp-sponsor #ov li {
    font-size: 77%;
    list-style-type: square;
    padding: 6px 0;
  }=20

  #ygrp-sponsor #ov ul {
    margin: 0;
    padding: 0 0 0 8px;
  }

  #ygrp-text {
    font-family: Georgia;
  }

  #ygrp-text p {
    margin: 0 0 1em 0;
  }

  #ygrp-text tt {
    font-size: 120%;
  }

  #ygrp-vital ul li:last-child {
    border-right: none !important;=20
  }=20
  -->
  </style>
</head>

<!--~-|**|PrettyHtmlEnd|**|-~-->
</html>
<!-- end group email -->


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