Suggestive Harlequins: A Romantic Threesome

To Please the Doctor

Marjorie Moore

1959

Doctor in Bondage

Jean S. MacLeod

1961

Strange Request

Marjorie Bassett

1960

Related post:

SF, not S/M

'Burns' by James McIntyre, the Cheese Poet

The Robert Burns Memorial

Square Dorchester (né Dominion), Montreal

Photograph by Wally Gobetz

BURNS 

The following ode was read by the author at the Centennial Anniversary of Burns in the year 1859.

This night shall never be forgot
   For humble life none now despise,
Since Burns was born in lowly cot
   Whose muses wing soars to the skies. 

'Round Scotia's brow he wove a wreath
   And raised her name in classic story
A deathless fame he did bequeath,
   His country's pride, his country's glory. 

He sang her hills, he sang her dales,
   Of Bonnie Doon and Banks of Ayr,
Of death and Hornbook and such tales
   As Tam O'Shanter and his mare. 

He bravely taught that manly worth
   More precious is than finest gold,
He reckoned not on noble birth,
   But noble deeds alone extolled. 

Where will we find behind the plow
   Or in the harvest field at toil
Another youth, sweet bard, like thou,
   Could draw the tear or raise the smile. 

We do not think 'twas Burns' fault,
   For there were no teetotalers then,
That Willie brewed a peck of malt
   And Robin preed like other men. 

'Tis true he loved the lasses dear,
   But who for this would loudly blame,
For Scotia's maids his heart did cheer
   And love is a true heavenly flame. 

So here we've met in distant land
   Poor honest Robin to extol,
Though oft we differ let us stand
   United now in Ingersoll.

From Poems of James McIntyre (Ingersoll, ON: Chronicle, 1889) 

No Lady Before Judith Hearne

A Bullet for My Lady
Bernard Mara [pseud. Brian Moore]
New York: Gold Medal, 1955

As titles go, A Bullet for My Lady ain't so bad. The problem is that that narrator Josh Camp has no lady, and the only person who takes a slug is a small time crook named Domingo Jiménez.

Barcelona sets the stage. Camp, a trader in airplanes, arrives in "the biggest, roughest city in Spain" to search for AWOL business partner Harry Spoke. He's barely set foot on Spanish soil when met by a beautiful woman who reports that the missing man got drunk and fell from the balcony of a fourth class hotel. Camp doesn't believe a word. Harry, always one for routine and discipline, never strayed from a two drink maximum.

Camp takes a room in the selfsame flophouse, where he's visited by the beautiful bearer of bad news, a moustachioed marquesa, a lovely lush named Lucille and, of course, Domingo Jiménez. As it turns out, all are searching for the coffin of a cardinal who, centuries earlier, was buried wearing vestments inlaid with pearls, rubies and diamonds. What we have is a dark, violent, not so funny It's a Mad Mad Mad Mad World.

A Bullet for My Lady ain't so bad. While the plot isn't much and the characters cardboard, Moore's sketches of Spain are at times quite striking. (He banged out the early chapters in Barcelona and Majorca.)

The fourth of his disowned novels, it appeared two months before Judith Hearne. Back in 1955, the Gold Medal thriller was Moore's moneymaker, bringing an advance that was well over ten times that proffered by André Deutsch for the more literary undertaking.

Three more Moore pulps followed.

Can you blame him?

Object: A cheap mass market paperback with spicy cover illustration by James Meese. The back cover features a curious black and white photograph that looks for all the world like a still from a movie that was never made.

Access: The first and only printing arrived at news stands in March 1955. Very Good copies begin at US$45 and, for no good reason, go up to US$150. Non-circulating copies can be found at the Toronto Public Library, Library and Archives Canada, McMaster University, the University of Saskatchewan, the University of Calgary and Simon Fraser University.

Related posts:

Brian Moore's True First

Murderers Move in on Montreal

Parisian French, not Québécois French
No Gun for Gloria

The Dominatrix of Time (and other fantasies)

There are no whip-wielding women in Masters of Time, green-skinned or otherwise. In fact, the only female so much as mentioned in the entire novel is aging spinster Nora Matheson. The 1974 Manor Books edition above is a cheat designed to appeal to adolescent boys. I was eleven when it arrived in stores.

With van Vogt, covers rarely reflect content. Publishers puff, peddling images that – four times out of five – are entirely unappealing.

Yes, four times out of five.

I present the following as evidence:

Super-Cérebro [Supermind]

Lisbon: Livros do Brasil, 1978

The Book of Ptath

London: Panther, 1975

Out of the Unknown
London: New English Library, 1970

宇宙嵐のかなた [Mission to the Stars]

Tokyo: Hayakawa, 1970

The Weapon Makers

New York: Greenberg, 1952

Related post: The Homoerotic van Vogt

Wasting Time on A. E. van Vogt

Masters of Time
A. E. van Vogt
New York: Macfadden-Bartell, 1967

Masters of Time opens with poor Norma Matheson scrambling up a slippery riverbank after a failed suicide attempt. Eleven years earlier she'd rejected college boyfriend Jack's marriage proposal to pursue a career in social service. How'd that go? The author won't say, though the publisher provides plenty in this pitch to prospective purchasers:

Front cover, back cover, front page – Macfadden-Bartell describes this novel three different ways, though not one is true to the plot.

The finest scene is the first. Norma rests on a park bench gathering herself for another run at the river when she's approached by Dr Lell, a gaunt man who offers a job recruiting mercenaries for "the Calonian cause". That she accepts might be an indication that things didn't go so well in the social service game. Norma soon discovers that her employer is not the country of Calonia, but aliens amassing soldiers for a war in the distant future. She runs to the local police station only to be temporarily transformed into a mute old woman by Dr Lell.

Norma next turns to the US Mail, penning a plea to former beau Jack, now a world-renowned physicist. The lengthy letter she receives in response is full of mixed messages. Jack questions her sanity, repeats each and every detail Norma has gleaned of the alien plot, provides scientific analyses of same, and encloses $200 so that she might pay for psychiatric help.

What began as a mildly interesting episode of Twilight Zone suddenly becomes awkward and disjointed. The novel stumbles forward, picking up and discarding characters, concepts and concerns while torturing the reader with pedestrian prose. Here are Jack's thoughts upon learning that he's aboard a spaceship bound for Venus:

Venus! He let the word roll around in his mind and it was exciting, intellectual food, immensely stimulating to a mind shaped and trained as was his. Venus? For ages, the dreams of men had reached into the skies, immeasurably fascinated by the mind-staggering fact of other worlds, as vast as their own continents, seas, rivers, treasure beyond estimate. And now for him there was to be reality.

This plain passage is atypical in that it is at least comprehensible. As in Bond parodies, van Vogt's villains reveal too much. Explanations are plentiful, advanced knowledge is imparted and secrets are spilled, but nothing the aliens say makes much sense:

"–the seventeenth x space and time manipulations... taking place sometime in the future... several years from now. Your spaceship either by accident or design caught up in the eddying current in the resulting time storm– Still no clue to the origin of the mighty powers being exercised."

While readers may feel that they have missed something, fault lies wholly with the author who in his Reflections of A. E. van Vogt reveals that the novel was but one cobbled together from unrelated stories. The effort was, as he put it, "fix-up work". I suggest that "hack work" is more appropriate. I'll add that that grafting lifeless things to other lifeless things brings animation only in science fiction... and not with science fiction.

Oh, one more thing: Nora and Jack get married in the end.

Trivia: The novel first appeared as "The Recruiting Station" in a 1942 issue of Astounding Science Ficton. It first appeared in book form coupled with a shorter pulp story, "The Changeling". It has also been published as Earth's Last Fortress.

Translations include L'ultima fortezza della terra (1976), La dernière fortresse (1978) and Beherrscher der Zeit (1978).

Object and Access: A mass market paperback, typical of its time, copies of the Macfadden-Bartell edition are plentiful and cheap. Good copies can be had for one dollar (double that for Very Good). The first edition, published in 1950 by Fantasy Press of Reading, Pennsylvania, is not nearly as rare as one might expect. Near Fine copies begin at the forty dollar range. In Canada, only the Toronto Public Library and a handful of universities have the novel in their collections.

The Mystery Writer Mystery Unravels

'Keeping an Eye Out for Pamela Fry' pays off:

A writer friend informs that Pamela Fry, author of Harsh Evidence and The Watching Cat, is the very same Pamela Fry who once worked as an editor at McClelland & Stewart. Though Miss Fry's years with the publisher were not many – 1965 to 1971 – she did work with several canonical favourites, including Sinclair Ross, Ernest Buckler and Farley Mowat. I imagine she'll be best remembered not for her mysteries, but as the editor of The Edible Woman, Margaret Atwood's debut novel. A high point to be sure.

The low? Look no further than Eric Koch's ill-fated satire The French Kiss (1969), which I mention here only because the book just might lay claim to the worst launch in Canadian publishing history. In Jack, McClelland biographer James King tells us that The French Kiss was on bookstore shelves when legal advice came down that members of Quebec's Johnson family might have been slandered in its pages:

The three thousand books were recalled, small slips pasted over the offending passages and the copies then returned to retailers. Jack only learned of the potentially disastrous situation at the book's launch at the home of the book's editor Pamela Fry. He called her aside, told her the book would have to be recalled and acted quickly and decisively to prevent a lawsuit.

According to King, Pamela Fry left M&S in for a position on a federal government task force. In his autobiography, Drawing on Type, designer Frank Newfeld places her c.1980 at the National Gallery of Canada. From there the trail grows cold.

Thanks go out to my "writer friend" and to fellow sleuth Richard Blanchard.

Related post: Keeping an Eye Out for Pamela Fry

The Canadian Publishers

McClelland & Stewart swallowed up by Random House Canada

McClelland and Stewart

"The Canadian Publishers"

1906 - 2012

RIP

Artwork by Astrid K. Busby
with apologies to Frank Newfeld