Experiment Perilous: The Bug Jack Barron Papers

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Catalogue: Science Fiction. Add to shopping cart More information. Time Warner. Historical Novel - - pocket - p. And now Julius Caesar has turned his attention to the invasion of Gaul. Victory there will give him the power he craves - but one man stands against him: Vercingetorix.

Vercingetorix knows that the people of Gaul must fight, or else face the destruction of their culture and enslavement to another VG Gewicht: gr. Past door brievenbus: Nee. Antiquariaat Essef Professional seller. Catalogue: Hist. Fontana, London, First Edition, Softcover. Light wear and tanning of paper else a clean sound copy. Quantity Available: 1.

Inventory No: Bygone Books Professional seller. New York: Bantam, Paperback original - first printing. A collection of four novellas, including the first publication of 'La Vie Continue. Good condition - some rubbing and wear to the covers, straight uncreased spine.

More Books by Norman Spinrad

Sears, at present, is selling a theatrical TV channel to individual set owners on a house to house, one to one basis. Jeezus, it is to chill the blood. They kept me alive. Illegal alien. Anderson Dune : House Corrino mdp. Why do you see this happening?

Catalogue: Science Fiction and Fantasy. Bantam, With humanity struggling against rising oceans, polluted air, and violence and the earth's final hour in sight, the Roman Catholic Church confronts its ultimate challenge. Fantastic Literature Professional seller. Tor, About a hundred years from now, pollution, overpopulation, and ecological disasters have left the rich nations still rich, and the poor nations--the Lands of the Lost--slowly strangling in drought and pollution.

New York: Belmont Books Paperback original - first printing. Belmont B Author's 2nd novel. The hero fights for democracy against a totalitarian state using many disguises on many planets, but is thwarted at every turn by a mysterious group of renegades. Ultimately he must choose between the failing democracy movment or the Brotherhood of Assassins as an agent of chaos.

Very good in wrappers with light creasing to spine and one corner, usual toning to the pages. A fine yellow hardcover in a very good plus dust jacket 1st editon Hastings-on-Hudson, NY, U. Ultramarine Publishing Company, Incorporated. Slightest chipping to front corners of dj. Lane's Books Professional seller. First thus. A collection of 15 short stories by writers such as Michael Moorcock, Philip Jose Farmer, Samuel Delaney, Brian Aldiss and others, with an introduction by Spinrad, and brief comments on each story by him.

Very near fine - an attractive copy. New York, Dell Publishing Co. Inc, First Printing. Dell Binary Star No. Tiny nick to spine heel, faint short crease on back cover. Includes afterwords by both authors. Parigi Books Professional seller. Sphere, For three hundred years the Solarians had isolated themselves from the galaxy with the promise to reappear one day to bring human victory. Pocket, In the Second Starfaring Age, humans travel the universe via a technology they barely understand, propelled by a mysterious space drive linked to a living woman, the Void Pilot.

In the exotic interstellar civilization of the Second Starfaring Age, youthful wanderers are known as Children of Fortune. A band of eco-terrorists has taken over KLAX Los Angeles, having wired themselves and the building with explosives, and are making impossible demands. Avon Press. Not so they could build factories and make widgets out there.

The religious impulse nowadays, if you see what people are going to, are things to enhance their consciousness. People do not want rules or to be told how they can overcome sin. What do you see for drugs in the future? But will they be available? Under prescription so far. I just met someone who was taking some smart pills under prescription. I worked on a piece with someone about all this for a magazine called Rush.

The question was, will these things be legal? Well, grass is legal in 15 states now, or something like that. Not easily. Not if you want to be sure of it. I think eventually more of these things will be legal as they get to more tailored sophisticated drugs where they can be created to produce a specific state of consciousness and not something else.

This stuff is okay. Or something about them is.

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The ability to alter that matrix of consciousness and then create artifacts which alter the matrix means that the matrix wants to be altered. It gives us a greater control over our own psychic destiny. I think in that sense these kind of developments are unsuppressible. Coffee, tobacco, alcohol. John Campbell had this whole theory about tobacco. It narrowed it down to a focus and it was really a psychoactive drug. It enabled you to concentrate more fully on your work. Of course, he smoked three packs a day and had to have some excuse. People who eat a lot of chili peppers and stuff are in a different head space than those who eat a lot of meat and potatoes.

That may be a little far fetched but there might be something to it because everybody has a unique biochemistry. And so what you eat and what you think. Is there anything coming from you in a non-print media? What about Bug Jack Barron? Riding the Torch is under option to MCA for some kind of stage show thing. Anything else under option? There was an attempt to make a start on The Iron Dream as a movie in France but it never worked out. But then the effect goes out of control and all the missiles are sent off. The intent is wholly serious, but as with most things that concern these guys, the tone quickly turns in the direction of black humor.

No one wants to think anymore, or deal with the realities of our situation. They just want to give it up. So when someone like Reagan comes along and presents these absurdly simple solutions to people, they eagerly want to turn control over to him. They have to be consciously blocking out obvious facts in order to believe in people like Reagan. But they forget what has happened before, and they just keep doing it again and again. Devotown, U. Their unique blend of ironic wit, savage self-parody, barely concealed revulsion and transparent statements of hope and encouragement, all shaken to the beat of gut-appeal rock and roll, is what qualifies Devo as one of the essential popular culture statements of the moment.

On April 26, , members of the American Institute of Aviation and Aeoronautics gathered in Arlington, Virginia, for a two-day conference that may well have set the course toward bettering that record. The following pages offer a giant look into the present and future world of bohemoth aircraft. Sometimes, bigger can be better. LFC is a radical redesign of the wing, not so much in shape as in materials and basic concepts. It carries passengers at a cruising speed of mph. Opposite page, top: The flying wing. It uses a fusion reactor to power turbine engines.

The reactor would use hydrogen and a light metal, making it radioactive- and pollution-free. Listed for sale are hundreds of new and previously owned antique and classic motor cars, yachts, airplanes, premium properties, horses, art, firearms and antique treasures. Send your check to the address below, or you may charge your subscription to Visa, Master Card, American Express or Diners Club by calling and giving your card account number and expiration date, in Okla. Ask for operator Prices subject to change without notice.

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Experiment Perilous: The 'Bug Jack Barron' Papers [Norman Spinrad] on Amazon .com. *FREE* shipping on qualifying offers. Norman Spinrad describes the. Norman Spinrad describes the writing of his famous BUG JACK BARRON novel by answering three questions: "how did I come to write Bug Jack Barron? what.

Even before I was rehired. I wrote the hell out of that script—took me a year to do it. They tried other writers once before So they came back to me. Think I pissed him off. So this week Kersh and Eddie will have a group of how shall I put this to avoid the redolence of blacklist? That, or more pleasant concept, the executive in question will have been sent back to the mailroom of the showbiz agency from which he slithered lo these many moons ago.

As for me own widdle self, gang, I stand quietly up here on Elitist Mountain watching the clash by night of ignorant armies, as Matthew Arnold phrased it.

BUG JACK BARRON-- the (not) film

Should have known better. They have all the subtlety of an acrobat in a polio ward. Bringing me to observations of the pragmatic realities of having a reader- ship like some of you out there. In order to enjoy many science fiction productions, it helps to check your IQ at the box office and content yourself with assimilating the widescreen cornucopia of way-out effects.

Held together by spit, hope and the iron will of the first officer, the spaceship detects and pursues an enemy vessel of superior firepower. We hope to succeed with this film, however. If and when we do, we then hope to spark a larger trend, moving towards thought-provoking science fiction on the screen. He thought the older book would make a much better film for David. When Ashley formed his movie company, he flashed back on that book and made a deal. What we tried to do was to take the next logical step and turn it into a screenplay.

We changed the union rep to a cruise rep and made her a woman Andy came in with a lot of other art directors. He showed me his work and I was very impressed. He has a knack of being very true to the scientific and physical realities of space designs. He was in the Navy during the Viet Nam war so he knows how a battleship will perform, how it feels and what it looks like. We brought him on to do our preliminary art and layout designs for our sets. Inset: The ship, protected by a space warp bubble field, watches as a torpedo explodes.

Design art for engineering section, located just forward of the engine room. Our main problem has been the age-old problem that science fiction producers have faced in the past and that is: How do you sell science fiction to a studio? Canada looks promising at this point. We should know within a few months. George Folsey, director of photography on Forbidden Planet , is supervising cinematic concepts for the film and Hughes Research scientist Dr.

Robert L. Forward is acting as technical advisor. And they cried: If we can land men on the Moon, why can't we solve our pressing problems here on Earth? December 41 space have seldom looked so bleak. With the advent of the reusable space shuttle, we are told, we have within our grasp the tools to move from an era of space exploration into an era of space exploitation—presumably for the benefit of all humankind. What have we gained so far from space? Has it been worth the time, energy and money?

How much money have you spent to send men to the Moon and space probes to half a dozen planets? How much have you spent to raise the standard of living of your fellow citizen? Not all that, of course, has been spent on hardware launched into space. Now, five billion dollars is a lot of money. But in isolation, without perspective, it is impossible to judge what that five billion dollars means. Federal income from your taxes has increased by 84 percent. Federal aid to human welfare has nearly tripled. And Federal support of energy has skyrocketed by nine times.

Please do not take my word for it alone: Examine the Federal budget yourself. Bandying about money figures can easily deceive. If you feel adrift, pick up the short superb book How to Lie With Statistics by Darrell Huff—a book that ought to be required reading for every year-old registering to vote. Returns From Space Analyzing the cost of something is only a third of the job of assessing its value. One must next analyze the returns for the money.

And last—and toughest —one must then ask: Have the returns been worth the costs? What have we accomplished in space? December while their weakened hearts heal. And we have discovered activity on the sun and in the depths of space hitherto never known. Less obviously, the quest for the Moon and space has created whole new industries—some of them in space itself.

Especially with the advent of direct- broadcast satellites, teleconferencing will increasingly replace certain types of business travel. In alone some 1, boats using the data located their catches with a fuel savings of ten percent. The economic and cultural impact of that piece of space technology alone has been enormous. NASA had to go out and contract major aerospace companies to design and build the boosters and control systems and life- support systems. All those companies had to recruit new engineers to form new divisions to invent out of the blue a lot of the technology that was flown.

We are seeing the reverse of that stimulus today. Second, consider civil rights: The spur to go into space transformed the economy of the deep south. Never before did so many people recognize how limited our Earth really is, and how perilous it would be to tamper with its ecological balance. And it is also worth contemplating that for each one- ton communication satellite launched, that means 50, tons of copper not stripped out of the Earth to lay as cable.

Fourth, consider politics: The space race in the s sublimated the far more dangerous arms race by diverting energy into a constructive competition instead of a destructive one. In fact, it may have helped lubricate international relations between the U. Few of your other tax investments can claim so much. Sixth, our venture into space may have provided us—and our children— with a future: to wit, a new frontier. Each frontier did indeed furnish a new field of operation, a gate of escape from the bondage of the past; and freshness, and confidence, and scorn of older.

Wrestling with a frontier is the American myth. Unless you lock the libraries and deny history and burn Westerns, that restlessness of American character is not likely to change, even though times have changed. Has Space Been Worth It? Now that we have analyzed the costs of past space exploration and the returns from it, have the returns been worth the costs? Do you limit the analysis only to the subcontractors and entrepreneurs who capitalized on a bit of space technology to shave costs or make a bundle? In Mathematica, Inc. December creased funding would create , new jobs.

Problems —what a stark understatement. First, take a close, quiet look at that question. As Ben Bova has pointed out, the logistics of landing two men in a crater on the Moon are not at all the same as the logistics of negotiating how to divide up the Sinai. There are no rights of way to the Moon, no differing ideas on how to get there.

Technological problems are much easier to solve than people problems. They instead involve an exchange of one set of more acceptable difficulties for another. Third, the question carries with it the implication that somehow not going into space would alleviate our social ills: that by diverting all the money and human energy now yearning starward we would end poverty and hunger and political unrest. The basic difficulty here seems to be one of communication. Let us, however, examine what might happen if Federal funding to space— both civilian and military—were stopped tomorrow.

Allen H. The Future Is Yours Is space worth it? Once the prototypes are tested and used by the military successfully, commercial aircraft builders will follow the lead. There is a theory that convential aircraft designs will dominate this stage of development, then with the necessary technology base, drastic redesigns will appear. Nuclear fuel will not be utilized until changes in weight and safety are made. A NASA study concludes that the market for air cargo is growing faster than the market for passenger travel.

It carries , lbs. The plane would have a foot wing span. At the same time, your Space Art Calendar will keep you abreast of astronomical events and other vital dates and information.

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List of works based on Arthurian legends - Wikipedia

In the midst of this madhouse sits art director John Graysmark. Perched in a room housing countless turn-of-the-century drawings and designs, Graysmark notes the irony of his profession. The movie, based on the original Alex Raymond comic strip, was originally planned two years ago but ran into a myriad of snags. Director Nicolas Roeg left to assume the directorial reins of The diabolical ruler of the planet Mongo, Ming the Merciless, holds court. December another production and with him exited the film's production designer. When Danilo Donati entered the picture, the production finally took shape.

We tried to follow that vision faithfully in terms of visual style. The forest people, for instance, dressed a bit like Robin Hood. The funny little hats looked strange on the men. We have feathered Hawkmen who fly and lizardy Aquarians and people who live in Frigia. He suggests more than he presents. On film, of course, everything has to be detailed. That part of space is fairly dreamlike. They pop through our galaxy so fast, it will make your head spin.

Once they leave recognizable space, they leave astronomical tradition behind. The planets are not necessarily spherical, either. In fact, Arobira, the forest planet, is half a sphere. There are massive archways. Neither do we. He imprisons Flash in chains and then releases him by waving his ring and making the chains disappear.

It rises out of this enormous plane of mist. Out of this red marble city comes these glowing tubes, horizontal elevator shafts, that run through the seas of mist. It was quite a challenge coming up with that sort of scenery. None of it could be readily identifiable with reality or, for that matter, science fiction filmdom. The weaponry gave us a bit of a time. They were all done in rather baroque style, not in art deco. We had to make them beautiful yet realistic.

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In Arboria, the soldiers used very powerful crossbow items. The sword handles were made of wood. Ours send out beams that end up as explosive charges. Frank Van Der Veer has come up with a lot of great ray effects. They sail through the air and oscillate. When the ray reaches its end point, it blows up. We tried to get this colorful, alive look to everything. This film has a warm look to it. We kept them in the movie. When the Hawkmen fly up and attack these massive vessels, you get a wonderful hand-to-hand combat effect.

Just look at the vehicle that took Neil Armstrong off the surface of the Moon. Ours do, too. The rest of the area was left for the special effects men to concoct for the final print. What they saw when they walked in was quite a bit of set but an awful lot of blank, blue space, too. You have to react to and act around elements that will not appear in the film until months later. So we were filming in three studios that formed a triangle; each being some 30 miles from the other. Each group of people had to use the same type of paint, etc. It was a pain in the neck at times to have things stretched out like that.

We survived, though. In the original version, Flash was an international polo star. The airplane is suddenly caught in this strange turbulence. The plane spins out of control. He executes a very haphazard landing near the home of Zarkov. He is asked to resign from NASA. He builds a rocket to get to the source of these disturbances, the planet Mongo. The hardware is not, repeat, not Zarkov tells Flash to leave the ship and act like a friendly American.

Everyone likes a friendly American. Flash steps out. They toss this gauntlet at him that throws him to the ground, pins him down and very nearly kills him. Flash just glares at Zarkov. Being a football player, he tries to break free using his brawn. Dale, on the other side of the hall, starts jumping up and down like a cheerleader.

They are obviously raving idiots. He wanted it perfect. The movie is fun. It makes you smile. And the action goes with the scenery. The costumes are dazzling. The scenery is eye-boggling. It was very lovingly done. It should please dreamers of all ages. New York City. Traffic noises. He stares at the drawing board before him. A s sailing ship sits frozen on paper. Well, the wait, onerous though it may be, has been worth it. Carr follows this light offering with George R. This striking piece of horror has been optioned by some Hollywood folk, and if the silver screen version should it ever materialize is even a fraction as frightening as the story then you can look forward to having the stuffing scared out of you twice.

Wollheim's Winners Donald A. Wollheim opens with two stories about a loss of faith—George R. This is a challenging story that ranks with the very best Varley has offered. It serves as a fitting centerpiece in this catalog of hopes and dreams. Wollheim has put together a selection of stories from last year that shows SF looking for more than another gimmick, another high-tech quick fix.

All too many readers know Mr. You may recognize these stories. Here is a career summed up in 22 stories, every one a gem. When he gets up there, Island One looks like paradise. The publicity flack tells him it is paradise. But Harry just keeps stumbling onto little bits of hell up there in paradise—a dead cop, a cover-up, and a little too much mayhem headed in his direction.

Fortunately for Harry and Island One, his greatest talent is survival. Anti-Architecture Another gentleman who thinks that the future might be quite ridiculous is David Macaulay. Constructing these 86 floors of steel, concrete, limestone and glass at the height of the depression was as much an ego trip as an engineering marvel.

All in all, this is a marvelous mistreatment of one of the architectural wonders of the world. Psychedelic Sci-Fi Now if Mr. Naha or Mr. The Omega Threat stars a very appealing high-tech antihero—one Sam Boggs, a former revolutionary who blew up buildings but never people. Boggs has retired to the traditional desert island retreat but now the CIA wants to put him back into action. That makes Boggs want to stay retired.

Washburn has done his homework. The earthbound sequences move well and keep you turning the pages, and the space sequences are accurate and well- considered. Please allow six to eight weeks processing time before your first issue is mailed. We can probably learn a great deal by being less hasty, and by critically scrutinizing them. The Russians, the Europeans, the Chinese, the Japanese, and even third- world countries are tooling up for space—the field we pioneered and from which we are now retreating.

What precisely are they doing? What do they believe they have to gain? Perhaps by watching them more closely we can get a clearer perspective on what we ourselves have to gain by entering—or lose by foregoing —the new era in space. But although the gold was what attracted the settlers to California, it was the land that made them stay. What gold and land lie out in space? What striking opportunities for entrepreneurs? Thomas Jefferson was wise enough to know that when he risked his Presidency for the Louisiana Purchase.

And we do know that there are at least 8, people who hanker to work in space—the hardy men and women who applied to be shuttle astronauts. There are at least 8, swimmers. Third, in examining the pros and cons of continuing our investment in space, do not fail to face the fact that these are unique times requiring unique actions. Times have changed. Yes, the physical resources on this Earth are limited—but there is no evidence that our intellectual resources are.

Fourth, in contemplating any course for the future, our biggest enemies are not human ills, but are pessimism, apathy and fear: pessimism indicated by X-rated movies and bestsellers that our real nature is lodged in our fists and genitals, apathy that world situations are too bad and governments too massive to change, and fear of taking any financial or political risk. Even worse, the apprehension and insistence on eliminating the error before the trial is nothing less than middle-aged timidity—the kind of timidity displayed by a year-old man at the height of his powers and dissatisfied with his job of 20 years, but afraid of daring to change for fear of having too much to lose.

The young do not feel that way. These young people broke box-office records at Star Wars, Close Encounters of the Third Kind, Star Trek and The Empire Strikes Back because those movies combine adventure and vision with characters who were strong people in dilemmas, who grasped the power of hope and changed things. Says Gilbert V. Schmitt, that spirit infects young people wherever he goes —particularly American teenagers. Then he asks how many want to go to Mars—and virtually all the rest of the hands shoot up.

So they want Mars. Technology has changed, but human beings have not. Every new generation is impatient to pioneer its own frontiers. Courage is natural to it. And courage is a precious resource. If today the U. Because the sturdy spirit that is our heritage is also our only hope. Space is a resource , as precious as air, water and earth. Proper useoi the space resource has already—and can continue —to help ameliorate ills here on Earth, financially, materially, and to an extent even socially. But life is a dynamic, evolving, changing system.

The existence of those perennial troubles, however, should not dismiss space travel as simply a flamboyant romantic fantasy which offers escape from glum reality. We must not bottle the restless human spirit under a lid with no safety valve— for then it will surely explode. We must recognize that the risk of doing nothing may be the gravest risk of all: to the list of human ills on this planet, we must not deliberately add frustration and hopelessness.

Only as long as energy and spirit exist —and only as long as there is a safety valve in a frontier—will we have the chance of pulling through. T he whooping crane is a survivor. In the face of adversity—no less than extinction in this case—the native American whooper is today.. It proves that humans are capable of turning around a disastrous environmental situation. The whooping crane Grus ameri- cana , characterized by spindly yet strong legs, snowy white torso, elegantly long and curvaceous neck, and majestic black mask crested with a shocking red tuft, is unusual right from the start.

There were never that many of them anyway; experts estimate that their population peaked at 1, to 1, individuals. And rightly so; whooping cranes and humans were not destined to live together. The whooper has tolerated our presence, but has always kept a deliberately safe distance. However, the distances kept getting shorter and shorter. In the 50 years prior to , sportsmen downed more than of the birds. Agricultural development of the Great Plains was another factor, as was a severe hurricane that took most of the Louisiana whooper population with it.

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Other human harrassment plagued the whoopers. In , the remote Wood Buffalo nesting refuge nearly became a part of the Canadian National Railway. Only after rigorous protest from environmentalists was the site abandoned and another chosen. Plus, whoopers do not venture far from their traditional breeding grounds, wintering areas and migratory routes. Enter the human element. But this was not enough. One way or another, whooping cranes had to increase their numbers. Some experts voted to allow wild flocks to increase on their own, while others argued for a program of breeding in captivity.

The latter group prevailed. The bird was already on the endangered species list. Once the captive flock began to stabilize, eggs from Patuxent were put into the wild, though not with whooper parents. Another landmark was set in However, this also ignited a long legal battle that ended almost four years later. In its proposal for critical habitat, the service omitted an area stretching from the Platte River in Nebraska north to the Canadian border. Under the Endangered Species Act federal monies cannot be spent on projects that interfere with protected animals.

A courtroom conflict ensued, centering on the Grayrocks Dam project. In essence, the decision allows the whoopers an. But this is a story of survival and the mission is not yet complete. In the meantime, researchers continue to study the whooping crane; there are still many mysteries to unravel. My work is the leavings of my life. Famous in both science fiction illustration and newspaper cartooning circles, Cobb is as at home in the political arena as he is in deep space.

Although a cult favorite in America, Cobb has never received the publicity in SF-fantasy circles awarded many of his peers. For some odd reason, art was always important to me. I always worked hard on developing it. I just drew a lot. I never went to college or anything. After high school, I went straight to work at Disney Studios. You wind up doing every fifth or tenth drawing. And it takes forever to advance at Disney. Most people put in their two years, learn animation and then split for a smaller studio where they become animators.

Animation was just too laborious for me. It was all I could do. I had no other skills. Undaunted, Cobb held down a number of odd jobs while attempting to refine his craft. Then, an unexpected turning point in his life.. I was insecure, undereducated and bored in Burbank. When the draft came along, I was running around with these extraordinary people who shared an enormous hatred for the military point of view and conventional politics.

We still had a sense of humor. But I felt that I needed that confrontation. The Army was the real monster in my philosophies. The overall experience did provide me with a very good confrontation period. Some things that seemed to make sense. When I came out, I had no ill feelings towards the Army. I was just aware of how foolish the war in Viet Nam was and how confused and frightened everyone was. I wanted to comment on that. I had no art school training and I had never really worked in a sustained way.

I survived, though. The s were coming and drugs were coming and music was coming and underground newspapers were coming. Up until that point, cartooning was a casual interest of mine. The only memory of cartooning I had was from reading the old E. At top is the alien ship. Initially, the craft was to be destroyed. I wanted it to be a planet. You can see a white dwarf [planet] and a red giant in the background. The ship was first named The Leviathan; it was later changed to No.

This is the first time it's been seen. December pick up a letter. An editor pointed to this parcel under my arm. They kept me alive. Then I started painting and selling privately. Most of my work was fantasy oriented. So I became interested in trying everything. I did overt fantasy illustration. He wanted to do some cutaways to show a few more elaborate creatures. I submitted about six little color paintings and about three of them made it into the finished film. The big hammerhead alien was the most notable. That amounted to about two weeks work. I had done a few sketches that were never sent to Dune headquarters in Paris.

El Topo Jodorowsky. He was going to use me as well as Chris Foss and Geiger to do designs for the film. By the time I was ready to board the plane to Paris, the production was all over. I never even met Jodorowsky. I was in it right from the beginning in that I did paintings for them to take around to movie companies with their treatment when they were trying to sell the project.

I prefer those problems. I have an affinity for that. All of my art thus far has been an illustration of my journey through life. As I accept a challenge to do something, my work reflects it. Actually, there is more to this handsome single-jewel timepiece than meets the eye. Strap iton and watch time literally fly!! F23 Parx Ave. December 63 Ellison continued from page 33 escapees from the chipmunk factory.

Posterity stuff, know what I mean? The real goods. The forms I use and the styles I adopt are changing; approach is malleable, it mutates. Imagine my consternation when I go out in the world—dressed even as you, I pass among my people, unseen and unheard yet I see and hear and remember—five bucks to the first reader who spots the cinematic source of that line—and meet my readers. Jeezus, it is to chill the blood. The word weird ennobles some of you. Even the one who calls from New York three times a day and then hangs up without saying anything.

Even the one who teaches college in Pennsylvania and spends his off-hours making up the most incredible lies about my private life, based on old vaudeville routines. Even the one who named her firstborn after me. Even the one who wants to buy my used Jockey shorts. I stagger, I falter, I fall in the traces. I love you all. Nonetheless, it is a bit disconcerting to get out there and meet all of you. But does that dismay me. Not on your autographed Luke Skywalker hologram. Steadfast, thass me. But just to make it a little easier for those of us you seem to consider great gurus, here are some tips of etiquette.

How to talk to a writer. Things not to say. Martin, Ursula K. Jack Vance still refuses to speak to me because I voted against Goldwater. And so does every other writer. We are as closely aware of where and how our books sell as you are of how much cash you have in your funny little change-purse. It is a constant anguish with which we suffer. Say fifty pockets. That means only fifty titles get full cover display. December well-known or unknown, no matter how talented or inept, no matter how beautifully-packaged or uglified. If you want to indicate your love for what we write, then lie to us: tell us you were in the B.

Dalton or the Waldenbooks flagship store and they had three huge stacks of our current title, right there beside the cash register at point-of-sale, and people were kicking shins to get at the copies before stock ran out. In short, keep it short and simple, and try to do for yourself all the things you want us to do. Self-reliance will give you regular bowel movements.

Third Tip: brush your teeth. Tired of square screens? Breakaway props for realistic fight scenes.

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Make your own foam latex animation models, molds and armatures and make them come alive! Reviews of new equipment, lenses and optical gadgets for creating special effects! Fourth tip: stop reading our personal lives into our stories. Hate to shock your nervous system, but the Artist is not the Art.

Just because Ted Sturgeon once wrote a story about homosexual aliens does not mean he is necessarily gay or alien. Just because Bob Bloch—one of the gentlest men who ever lived—wrote Psycho is no touchstone to a perception that he is secretly a deranged mass- murderer.

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Just because I write stories filled with senseless violence, incredible brutality, endless debasement of human beings and twisted, diseased, horrific concepts of sexual atrocities does not mean I gave to the March of Dimes last Christmas. On the other hand, it might. Journalists do that. We simply take bits and pieces from here and there and reorder them. Writers are also, as Mario Vargas LLosa has said, exorcists of their own demons. So some of us is in there. Trust me. Just to keep us in touch. But then. Ellison has been given a free hand to express his opihions.

If you don 7 like what he says, it's not our fault. Publishing is fun- ny like that. Devo continued from page 27 been into parody or inside jokes or anything. But that usually just hides a lack of content. Take the Residents as an example. Which, if their words are to be believed, is exactly what Devo wants. Look at what the government does when they experiment with psycho- acoustics—they use the ones that make people puke, for crowd control.

We want to counteract that. December New from starloc In answer to hundreds of requests from readers, STARLOG the magazine of science-fiction movies and television, has assembled an exciting new series of video tapes. First screen story dealing seriously with man s flight to another planet.