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One of my favorites by Delany.
On Mon, Feb 17, 2020 at 4:45 PM Todd Mason [email protected] [delany-list]
<[email protected]> wrote:
>
>
>
> <https://www.facebook.com/samuel.delany?__tn__=3D%2CdC-R-R&eid=3DARDnPYhS=
4cq2mSFLZHYTQBuRWQoSIvfRs_eb27_iaA7305rm-dCaQGZGxXk25zL7NWHkfrhXOBZvt73z&hc=
_ref=3DARS3EX1t_iY5eddvXycaPjywpCCaRjM0KHd6_54HJE0N1npkrjJEFFD0C6eURJVC7sY&=
fref=3Dnf>
>
> https://www.facebook.com/photo.php?fbid=3D10223192107178822&set=3Da.20816=
41728452&type=3D3
>
> Samuel Delany on Facebook:
> Though my first commercial short story sale was =E2=80=9CAye, and Gomorra=
h . . .=E2=80=9D
> to Harlan Ellison=E2=80=99s *Dangerous Visions*, my first written short s=
cience
> fiction work was the long story, =E2=80=9CThe Star Pit.=E2=80=9D The stor=
y was eventually
> sold to *Worlds of Tomorrow* under the editorship of Frederik Pohl when h=
e
> was the editor of three magazines, one of which had been inherited from H=
..
> L. Gold, together known as The *Galaxy* Combine. Eventually, the story
> became a two-hour radio play that was directed by Daniel Landow and
> broadcast over [NYC 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 slightly over 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 friend
> Ana Perez, who said that it needed something but wasn=E2=80=99t sure what=
, and in
> the course of my thinking about it over the next month, it occurred to me
> that the main story was not really about the Ratlit but about the narrato=
r,
> Vyme. What it needed was what led up to his isolation and tendency to tak=
e
> 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 Europe=
,
> 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 attempt=
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 an=
other 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 needed a metaphor for the
> new ecological sensitivity, which produced the ant colony/ecologariums, o=
ne
> and two.
>
> 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 additions to =
it,
> however, 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 Tomor=
row*. At
> that point, the writers used to get galleys on their 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 thought 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 have been
> sexual partners before you learn that Poloscki is female, Vyme says to hi=
s
> 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=99=
t a gay
> relationship involved. At the time, a young woman about 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 letter declaring th=
at
> 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 Fred. 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 line, and so I went ba=
ck
> to the office. Fred was still not there, but Judy was there, and I said
> that if she hadn=E2=80=99t given the letter to him yet, could she possibl=
y 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=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 killing a 60-page story i=
n
> a magazine at the galley stage is pretty steep, and I would probably have
> had to foot the bill. At any rate, *Worlds of Tomorrow* 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 tha=
t
> was considered to be a draw for readers. The story was republished 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
> story actually lies, and I do not think, without the beginning and ending=
,
> the tale wouldn't have been as interesting or satisfactory.
>
> *forward by TM*
>
> https://socialistjazz.blogspot.com/2020/01/fridays-forgotten-books-and-mo=
re-links.html
>
> https://socialistjazz.blogspot.com/2012/12/new-editions-of-algis-budrys-a=
nd-samuel.html
>
>
>
>
>
>
>
>=20
>
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<p><div dir=3D"ltr">One of my favorites by Delany.</div><br><div clas=
s=3D"gmail_quote"><div dir=3D"ltr" class=3D"gmail_attr">On Mon, Feb 17, 202=
0 at 4:45 PM Todd Mason <a href=3D"mailto:[email protected]">foxbrick@yaho=
o.com</a> [delany-list] <<a href=3D"mailto:[email protected]">=
[email protected]</a>> wrote:<br></div><blockquote class=3D"gm=
ail_quote" style=3D"margin:0px 0px 0px 0.8ex;border-left:1px solid rgb(204,=
204,204);">
<u></u>
=20
<div style=3D"background-color:rgb(255,255,255);">
<span>=C2=A0</span>
<div id=3D"gmail-m_-6225007650684687586ygrp-mlmsg">
<div id=3D"gmail-m_-6225007650684687586ygrp-msg">
<div id=3D"gmail-m_-6225007650684687586ygrp-text">
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=20=20=20=20=20=20
<p></p><div style=3D"font-family:"Helvetica Neue",Helvetica=
,Arial,sans-serif;font-size:16px;"><div style=3D"color:rgb(29,33,41);"><div=
style=3D"font-family:inherit;"><div style=3D"font-family:inherit;"><div st=
yle=3D"font-family:inherit;"><div style=3D"font-family:inherit;"><div style=
=3D"width:428px;font-family:inherit;"><div style=3D"vertical-align:middle;w=
idth:428px;font-family:inherit;"><h5 id=3D"gmail-m_-6225007650684687586ydp4=
3142733m_-8570660186988262323u_0_13" style=3D"color:rgb(28,30,33);font-size=
:14px;font-weight:normal;margin:0px 0px 2px;padding:0px 22px 0px 0px;font-f=
amily:inherit;"><span style=3D"color:rgb(97,103,112);font-family:inherit;">=
<span style=3D"font-weight:600;font-family:inherit;"><a href=3D"https://www=
..facebook.com/samuel.delany?__tn__=3D%2CdC-R-R&eid=3DARDnPYhS4cq2mSFLZH=
YTQBuRWQoSIvfRs_eb27_iaA7305rm-dCaQGZGxXk25zL7NWHkfrhXOBZvt73z&hc_ref=
=3DARS3EX1t_iY5eddvXycaPjywpCCaRjM0KHd6_54HJE0N1npkrjJEFFD0C6eURJVC7sY&=
fref=3Dnf" style=3D"color:rgb(56,88,152);font-family:inherit;" rel=3D"nofol=
low" target=3D"_blank"></a></span></span></h5><div style=3D"color:rgb(97,10=
3,112);font-family:inherit;"><span style=3D"font-family:inherit;"><span sty=
le=3D"color:rgb(144,148,156);font-family:inherit;"><a href=3D"https://www.f=
acebook.com/photo.php?fbid=3D10223192107178822&set=3Da.2081641728452&am=
p;type=3D3" style=3D"color:rgb(97,103,112);font-family:inherit;" rel=3D"nof=
ollow" target=3D"_blank">https://www.facebook.com/photo.php?fbid=3D10223192=
107178822&set=3Da.2081641728452&type=3D3</a></span><div><br></div><=
/span></div></div></div></div></div></div></div></div><div id=3D"gmail-m_-6=
225007650684687586ydp43142733m_-8570660186988262323js_5" style=3D"font-size=
:14px;margin-top:6px;color:rgb(29,33,41);"><div><span style=3D"color:rgb(97=
,103,112);font-size:16px;font-style:italic;">Samuel Delany on Facebook:</sp=
an></div><div>Though my first commercial short story sale was =E2=80=9CAye,=
and Gomorrah . . .=E2=80=9D to Harlan Ellison=E2=80=99s *Dangerous Visions=
*, my first written short science fiction work was the long story, =E2=80=
=9CThe Star Pit.=E2=80=9D The story was eventually sold to *Worlds of Tomor=
row* under the editorship of Frederik Pohl when he was the editor of three =
magazines, one of which had been inherited from H. L. Gold, together known =
as The <i>Galaxy</i> Combine. Eventually, the story became a two-hour radio=
play that was directed by Daniel Landow and broadcast over [NYC Pacifica s=
tation] WBAI, where it became something of a New York tradition for the Tha=
nksgiving week and was taken out and played every year for slightly over a =
decade.</div><p style=3D"margin:6px 0px;font-family:inherit;">I want to tal=
k about the writing, however. Initially, the middle section of the story wa=
s written first, before my first trip to Europe in October =E2=80=9965, dea=
ling with Ratlit, Alegra, and the Golden. I showed it to my friend Ana Pere=
z, who said that it needed something but wasn=E2=80=99t sure what, and in t=
he course of my thinking about it over the next month, it occurred to me th=
at the main story was not really about the Ratlit but about the narrator, V=
yme. What it needed was what led up to his isolation and tendency to take o=
ver 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 f=
or starships going beyond the galaxy. After I came back from Europe, one of=
the first things I did was re-start the story from the place it begins tod=
ay, showing Vyme=E2=80=99s young manhood and his failed attempt to have his=
own family. Before I had finished the new section, I also realized that, f=
or 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 ment=
or another lost child, in this case the Golden boy Androcles, who, for a sy=
llable, 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 metapho=
r for the new ecological sensitivity, which produced the ant colony/ecologa=
riums, one and two.</p><p style=3D"margin:6px 0px;font-family:inherit;">I d=
ate 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 additions to it, howev=
er, 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 Tomorr=
ow*. At that point, the writers used to get galleys on their stories, and I=
remember a rather strange moment when I discovered that Fred had cut one l=
ine from the tale for purely sexual reasons, which I thought was majorly da=
maging to the tale: At one point during the conversation in the dark hangar=
between Vyme and Poloscki when you discover that they have been sexual par=
tners before you learn that Poloscki is female, Vyme says to his fellow mec=
hanic, =E2=80=9C. . . and you=E2=80=99re good in bed,=E2=80=9D which was th=
e line Fred cut. For one moment in the written text, you wonder if there is=
n=E2=80=99t a gay relationship involved. At the time, a young woman about m=
y age, Judy-Lynn Benjamin, who had been a science fiction fan for a long ti=
me and was a dwarf, was working for Fred. I had written a two-page letter d=
eclaring that if this line had to be cut, I did not want the story publishe=
d. I handed it to Judy, who said she would give it to Fred. A day or two la=
ter, it occurred to me that the story would probably be republished in my o=
wn anthology at some point, and I could re-insert the line, and so I went b=
ack to the office. Fred was still not there, but Judy was 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 t=
he letter herself and decided I probably wouldn=E2=80=99t go on feeling tha=
t 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 killing =
a 60-page story in a magazine at the galley stage is pretty steep, and I wo=
uld probably have had to foot the bill. At any rate, *Worlds of Tomorrow* c=
ame 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 mo=
niker that was considered to be a draw for readers. The story was republish=
ed in <i>SF-12</i>, edited by Judith Merril=E2=80=94with the line re-insert=
ed.</p><p style=3D"margin:6px 0px 0px;font-family:inherit;" dir=3D"ltr"></p=
><div>Sometimes, however, it is important to figure out where the heart of =
your story actually lies, and I do not think, without the beginning and end=
ing, the tale wouldn't have been as interesting or satisfactory.</div><=
div><br></div><div dir=3D"ltr"><i>forward by TM</i></div><div dir=3D"ltr"><=
a href=3D"https://socialistjazz.blogspot.com/2020/01/fridays-forgotten-book=
s-and-more-links.html" rel=3D"nofollow" target=3D"_blank">https://socialist=
jazz.blogspot.com/2020/01/fridays-forgotten-books-and-more-links.html</a><b=
r></div><div dir=3D"ltr"><a href=3D"https://socialistjazz.blogspot.com/2012=
/12/new-editions-of-algis-budrys-and-samuel.html" rel=3D"nofollow" target=
=3D"_blank">https://socialistjazz.blogspot.com/2012/12/new-editions-of-algi=
s-budrys-and-samuel.html</a><br></div><div><br></div><div><br></div><div><b=
r></div><div><br></div><div><br></div><div><br></div><div><br></div><p></p>=
</div></div><p></p>
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}=20
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<!-- end group email -->
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