Kenneth Spencer Research Library

July 12 would have been James E. Gunn’s 98^th birthday. Though KU’s legend of science fiction died on December 23^rd of last year, Gunn (1923-2020) leaves a legacy as one of the genre’s most notable writer-scholars. An author and editor of roughly 50 books (critical studies, works of fiction, and anthologies) with more than 100 short stories to his name, Gunn helped to make Lawrence, Kansas a hub for science fiction. Chris McKitterick, a writer and former student of Gunn’s who succeeded him as Director of KU’s Center for the Study of Science Fiction, affectionately referred to him as “Science Fiction’s Dad” in an illustrated memorial on the Center’s website.

It’s easy to see how Gunn earned that moniker. As one of the first professors to offer courses devoted to science fiction at the college level, he was a teacher and mentor to countless students. The summer institutes and workshops that Gunn established at KU attracted attendees from across the country, and his connections and programming meant that Lawrence received visits from numerous SF luminaries over the years, from Frederik Pohl and Theodore Sturgeon to Nancy Kress to Cory Doctorow. Among Gunn’s scholarly contributions to the field was Alternate Worlds: The Illustrated History of Science Fiction (1975), which drew a number of its images of from Spencer Library’s collections. Of course, at the same time, Gunn was instrumental in building Spencer ’s science fiction holdings. Not only did he donate books and magazines, but he encouraged others to do so as well, helping writers and SF organizations to place their papers and records at the library up until his death. Gunn won a Hugo Award (one of science fiction’s top honors) for another of his works of criticism, Isaac Asimov: The Foundations of Science Fiction (1982). In a 2007 ceremony, he was honored with the “Damon Knight Grand Master Award” by the Science Fiction and Fantasy Writers of America (SFWA) and was inducted into the Science Fiction Hall of Fame in 2015.

 

Left: James Gunn’s Alternate Worlds: The Illustrated History of Science Fiction. Englewood Cliffs, N.J: Prentice-Hall, 1975. Call #: E2598. Right: Gunn with his 1983 Hugo Award (in the category of “Best Related Work”) for his study Isaac Asimov: The Foundations of Science Fiction (1982).  University Archives. Call #: RG 41: Faculty Photos: Gunn, James.  Click images to enlarge.

Given what he achieved, it’s easy to forget his humble beginnings, but materials from his papers on deposit at the Spencer Research Library offer a glimpse of what it was like to be a young science fiction writer in the 1950s.

To this day, most speculative fiction magazines pay writers by the word. Current rates include 8-12 cents per word for stories published in Fantasy & Science Fiction, 8-10 cents per word for Asimov’s, and 10 cents per word for the online Uncanny Magazine. An early letter in Gunn’s papers from 1952 reports the income from some of his first science fiction sales. In his memoir Star-Begotten (2017), Gunn recalls that Planet Stories paid a rate of 1¼ cents per word for his 12,000-word “Freedom, Inc.,” but then (to Gunn’s chagrin) changed the title of the novelette to “The Slaves of Venus.”[i] Observant readers will note that the letter comes from another famed SF writer Frederik Pohl, who was still then working as a literary agent, though Pohl would soon abandon agent work to devote himself to writing and editing science fiction.

Being paid for one’s writing has always been important point of pride for the genre of science fiction. Early in his career, Gunn made a decision:

…I would write my novels in the form of short stories and novelettes that I could get published first in magazines and later collect as books. When I became a teacher of fiction writing, I passed this along to my students as “Gunn’s Law” (Sell it twice!).[ii]

It was a law that Gunn often followed. His novel The Immortals (1962), which presciently imagines a dystopian future where advances in medicine have enabled the richest to live increasingly long lives, while most in society suffer under staggering medical costs, was comprised of four previously published novelettes. When The Immortals was adapted (with significant changes) into a popular TV movie of the week as The Immortal, Gunn also wrote a novelization of the script. Likewise, Gunn’s novel The Listeners (1972) was first published as a series of stories in Galaxy magazine (and one also appearing in The Magazine of Science Fiction and Fantasy) between 1968 and 1972.  The novel, which explores interstellar communication and the effects on individuals and society of the attempts at first contact with distant alien cultures, was dedicated “To Walter Sullivan, Carl Sagan, and all of the other scientists whose books and articles and lectures and speculations provided, so clearly, the inspiration and source material for this book […].”  It seems Carl Sagan’s imagination was also stirred in return. As Gunn reports in his memoir, Sagan later sent him his own novel of interstellar communication, 1985’s Contact, “inscribed with ‘thanks for the inspiration of The Listeners.’”  Gunn’s story received accolades from the broader field as well. The first of the sections published in Galaxy (“The Listeners”) was nominated for the 1969 Nebula Award for Best Novelette, and the subsequent novel was in 1973 the runner-up for the John W. Campbell Memorial Award for Best Novel.

Left: Typescript with instructions for the first of the quotation-laden “Computer Run” interchapters that appear after each chapter of The Listeners, 1972. James Gunn Papers. Call number: MS 116A:1a. Right: Gunn, James E. The Listeners. New York: Scribner’s, 1972.  Call #: ASF Gunn C26 Click images to enlarge. 

And though with endless energy and good will James Gunn helped his students navigate the practical and business aspects of the field science fiction, it was his belief in the genre’s ideas and their potential to bring about change that arguably stands as the most potent force across Gunn’s fiction and criticism. It was this potential that James Gunn heralded in his remarks at his 2015 induction into the Science Fiction Hall of Fame. “A lot has happened to science fiction since I sat in a garret writing my first story in 1948,” he explained;  

[…] The world has changed, too, often in positive ways, sometimes in ways that threaten its survival. It’s the job of science fiction, it’s our job, to observe those changes and consider their implications for human lives and maybe even do something to make those lives better, more livable, more human—whatever “human” turns out to be.  Let’s save the world through science fiction.[iii]

Over the years, many of Gunn’s students and readers have taken up that call and will continue to be inspired by it, even in his absence.

Elspeth Healey
Special Collections Librarian

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[i] Gunn, James E. Star-Begotten: A Life Lived in Science Fiction. Jefferson, NC: McFarland & Company, 2017: 68.

[ii] Gunn, James E. Paratexts: Introductions to Science Fiction and Fantasy. Lanham, Md.: Scarecrow Press, 2013: 10.

[iii] Gunn, James E. Star-Begotten: A Life Lived in Science Fiction. Jefferson, NC: McFarland & Company, 2017: 189.

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Theodore Sturgeon, Isaac Asimov, Octavia E. Butler, Kurt Vonnegut, Ursula K. Le Guin, Ray Bradbury, Joanna Russ, William F. Wu, John Kessel, Mary Shelley, and KU’s own James E. Gunn and Kij Johnson are just a few of the writers featured in Spencer Research Library’s new exhibit, Imagined Worlds: Writers and the Process of Speculative Fiction.

While it’s true that all fiction is imagined (at least in part), writers working in the genres of science fiction and fantasy achieve their dramatic interest, pose their philosophic and scientific inquiries, and address social and political issues by playing with and re-configuring the confines of reality. In writing of other worlds, different times, alternate societies, new technologies, and fantastical circumstances, these writers can transfix readers and, in the words of Ursula K. Le Guin, offer a “convincing picture of alternative ways of doing and being, which can shake readers out of fixed mindsets, knock the blinkers off them.”

But how do they do it?

Imagined Worlds offers a peek behind the scenes to explore the messy, impassioned, deliberative, contentious, and inventive processes of speculative fiction (an umbrella term for those genres–including science fiction, fantasy, and horror–that diverge from reality and realism). Materials drawn from Spencer’s collections offer various points of entry into the writer’s experience. There are cases dedicated to:

• conversations on the page (correspondence between authors)
• influence and inspiration
• from idea to book: the process of writing
• page to screen (adaptation and writing for film and television)
• the business of speculative fiction

There are also additional cases devoted to awards in speculative fiction and reading recommendations from KU faculty members, addressing SF books that have been significant to them. There are also paintings by two of the best-known science fiction and fantasy artists of the 1950s and 1960s, Ed Emshwiller and Frank Kelly Freas.

The books and manuscripts on display reflect Spencer Research Library’s historic strength in the science fiction of the 1930s-1960s, with the addition of materials from more recent collections of writers’ papers. Since the exhibition focuses primarily on correspondence and manuscripts, a slideshow in the exhibition gallery also shares over 50 covers of speculative fiction volumes from Spencer’s collections.

 

Left: Clarke, Arthur C. Childhood’s End. New York: Ballantine Books, ©1953. Call #: ASF B294; Right: Okorafor, Nnedi. Lagoon. London: Hodder, 2014. Call #: ASF C1260

To give a sense of the exhibit, we share something we had we couldn’t quite fit, a memo from Star Trek creator and producer Gene Roddenberry to writer Theodore Sturgeon about Sturgeon’s script draft for “Shore Leave.” One of the more surreal episodes in Star Trek‘s original TV run (1966-1969), “Shore Leave” sees the thoughts of crew members come to life when they beam down to a planet for some rest and relaxation. Roddenberry’s memo suggests the collaborative process involved in making the episode, and it reveals the mix of frankness, humor, and knowing cynicism he employed in guiding his writers.

He balances praising Sturgeon for his successes, with addressing logistical matters—such as the necessity of breaking down the script shot by shot for the sake of the costume, casting, and special effects departments—and then pushes Sturgeon toward what he judges will connect best with viewers. “Wouldn’t your teaser be richer if just one person saw Alice and the rabbit, say McCoy?” Roddenberry asks, “When two people see it, you’ve got a witness. But the poor devil who sees it alone, he’s got trouble.”

Of course, writers like Sturgeon might also push back regarding script changes. During the shooting of “Shore Leave,” Sturgeon would complain about a scene in which the resurrected Dr. McCoy enters with a woman on each arm. This is a “first order vulgarism,” Sturgeon wrote to Roddenberry, arguing that it undercut the emotional development of McCoy’s relationship with the character of Tonia. Roddenberry’s own memo to Sturgeon ends with a serio-comic sign-off that highlights the blend of art and business that television entails: “You’re lovely, inventive, wonderful. Now be commercial.”

Founded in 1969 by a financial gift from a student who thought KU should be collecting science fiction, Spencer Research Library’s SF collections continue to be built largely by donation. Over the decades, they have grown appreciably thanks to the support of James E. Gunn (writer, critic, Professor Emeritus, and founder of KU’s Gunn Center for the Study of Science Fiction). He has not only donated books and periodicals, but has encouraged others to make gifts as well, including fellow writers, whose papers now reside at KU. These efforts have been continued in recent years by writers Chris McKitterick and Kij Johnson (the current Director and Associate Director of the Gunn Center, respectively). We hope to continue to grow our science fiction and fantasy collections to better reflect the diversity of voices writing in the field.

Imagined Worlds: Writers and the Process of Speculative Fiction is free and open to the public and will be on display in Spencer’s Gallery through July 31st, 2020. We invite you to visit and explore the forces at work as writers imagine worlds!

Elspeth Healey
Special Collections Librarian

On August 19th, science fiction writer and critic Brian Aldiss died, a day after turning 92. In an obituary for The Guardian, fellow writer Christopher Priest characterized Aldiss as “by a long chalk the premier British science fiction writer.” As fans and scholars of speculative fiction around the world mourn this loss, some will be surprised to discover that part of the British writer’s literary legacy resides in Kansas: the Spencer Research Library a holds significant collection of papers for Aldiss, including materials for his Billion Year Spree and his Helliconia Trilogy. The trilogy, which consists of the novels Helliconia Spring (1982), Helliconia Summer (1983), and Helliconia Winter (1985), is among Aldiss’s most admired works. “This depiction of a world that circles a double star, where an orbital Great Year lasts long enough for cultures to emerge, prosper and fail,” Priest writes in his remembrance of Aldiss, “is a subtle, deeply researched and intellectually rigorous work.”

Brian Aldiss accepting the John W. Campbell Memorial Award for best science fiction novel for Helliconia Spring (1982) in Lawrence, KS in 1983.  Call number: RG 0/19: Aldiss, Brian

The collection of Aldiss’s papers at KU provides a wealth of evidence for the research and rigor that went into his writings. The 25 boxes of materials for the Helliconia Trilogy include, for example, Aldiss’s extensive correspondence with scientists and scholars to determine the scientific basis for the world he was creating. Those consulted include Iain Nicholson of Hatfield Polytechnic Observatory on the subject of astronomy, Peter Cattermole of the University of Sheffield on geology and climate, and Tom Shippey, then at the University of Leeds, on the languages of the novel. The result is a world  striking in its attention to detail.

A selection of research correspondence with Iain Nicholson, Peter Cattermole, and Tom Shippey concerning the creation of Helliconia. Brian Wilson Aldiss Papers. Call #: MS 214: A.

Not only do these letters reveal the extent to which technical and scientific matters underpin the trilogy’s concept, plot, and themes, but they also offer lighter moments of humor between on-going collaborators. Aldiss, for example, begins a June 1981 letter to Cattermole by quipping, “Helliconian scholars have failed to study Helliconia’s sister planets in any depth; they have been too busy drinking the whisky out of their orrerys.” (MS 214:Aa:2:14a).  Writing again to Cattermole in September of 1982, following the publication of Helliconia Spring earlier that February, Aldiss reports,

Vol. 1 has been very well received, especially in the States; over here there were complaints, as you say, about names. Well, it’s no good building up an intense winter atmosphere in Embruddock and then call[ing] the sods Joe and Charlie. There will be more complaints of that nature with Vol II, where I have a vast character list, with over fifty speaking parts, but I see no way of evading the problem and so forge on hopefully.  Wait till you meet Queen MyrdalemInggala….. (MS 214Aa:2:16b)

Spencer Research Library’s collections also include manuscript materials for Aldiss’s groundbreaking Billion Year Spree (1973), subtitled “The True History of Science Fiction,” which he later expanded with David Wingrove into Trillion Year Spree (1986). The volume argues for Mary Shelley’s Frankenstein: or, The Modern Prometheus (1818) as the birth of science fiction.

Aldiss’s ties to the University of Kansas grew out of his relationship with fellow science fiction writer and critic, James Gunn, Professor Emeritus of English and the founder of KU’s Gunn Center for the Study of Science Fiction. “We were long-time friends, although an ocean between us limited our encounters,” Gunn explains.

I was a guest in his Oxford home for a couple of days after the founding of World SF in Ireland [in 1976], and he was a guest in my home during his author’s visit here.  We were competitors only in the writing of science-fiction histories.  We both started in 1971, but circumstances (and maybe the complexities of illustrations) held up Alternate Worlds (1975) [Gunn’s illustrated history of SF] for a couple of years.  When I wrote him for a photograph, he suggested that we exchange blurbs–that I would say his history was the best and he would do the same for mine.

Though the delay in the publication of Gunn’s Alternate Worlds meant that the exchange of blurbs never came to pass, researchers can explore both Aldiss’s and Gunn’s processes in writing their respective histories of science fiction by examining the collections of their papers at Spencer Research Library.

 

Left: Brian Aldiss’s Billion Year Spree (1973). Schocken paperback edition, second printing. New York: Schocken Books, 1975. Call #: ASF B1245. Right: James Gunn’s Alternate Worlds. First edition. Englewood Cliffs, N.J : Prentice-Hall, 1975. Call #: E2598.

In his introduction to Billion Year Spree, Aldiss mused, “Possibly this book will help further the day when writers who invent whole worlds are as highly valued as those who re-create the rise and fall of a movie magnate or the breaking of two hearts in a bedsitter. The invented universe, the invented time, are often so much closer to us than Hollywood or Kensington.” Thank you for those invented universes, Brian Aldiss.

Elspeth Healey
Special Collections Librarian

Since most of you are unable to attend the world premiere of Star Wars: The Force Awakens today in Los Angeles, I’ve selected a few Star Wars items from our Special Collections to hold you over until December 18^th. Thanks to the tireless efforts of University of Kansas Professor Emeritus James E. Gunn (former head of KU’s Gunn Center for the Study of Science Fiction) and others, Spencer Library houses an amazing collection of Science Fiction materials. So enjoy these images and come visit us to discover more treasures from a long time ago in a galaxy far, far away.

   

Star Wars Fan Club membership application form, one double-sided sheet. Papers of T.L. Sherred.
Call Number: MS 253. Click images to enlarge.

Movie still of Darth Vader and Boba Fett from Star Wars Episode V: The Empire Strikes Back, 1980.
John Tibbetts Collection: Movie Stills. Call Number: MS 297. Click image to enlarge.

Star Wars Episode I: the Phantom Menace stills depicting Darth Maul and Queen Amidala, 1999.
John Tibbetts Collection: Hollywood Press Kits. Call Number: MS 292. Click image to enlarge.

Mindy Babarskis
Library Assistant

Donald A. Wollheim (1914-1990) is now celebrated for his role as a ground-breaking science fiction editor and publisher. At Ace Books, he launched the Ace Doubles series, and in 1972 he founded his own firm DAW Books, which took its name from his initials.  Wollheim also wrote books of his own, including several under the nom-de-plume David Grinnell.  However, like most writers, he also faced his fair share of rejection.  These form rejection letters from the periodical Wonder Stories offer a fascinating glimpse not only of the young Wollheim’s persistence, but of Science Fiction in the age of pulps.

“Insufficient Science!”: Form rejection letters from the managing editor of Wonder Stories, Charles D. Hornig, to
Donald A. Wollheim, circa 1933, for “The Second Moon,” “The Discovery of the Martians,” “Saknarth,” and
“The Land of Black Flames.” Donald A. Wollheim Papers. Call Number: MS 250, Box 4, Folder 8.
Click images to enlarge and read.

Wonder Stories‘  managing editor, Charles D. Hornig, had only to circle or underline one or more of a set list of common faults to reject a submission.  Stories might be dismissed for the following flaws:

• No Scientific Background
• Insufficient Science
• Science is Illogical and Incorrect
• Too Much Science (you should eliminate all but the general scientific ideas)
• Not Enough Story
• Not Enough Action and Adventure
• Story Moves Too Slowly
• Too Long, Story Must Be Cut
• Not Enough Strangeness and Mystery (The scenes are too commonplace)
• Characters Are Not Lifelike or Human
• Idea Too Hackneyed–Not Original Enough
• Too Much Love Interest
• Manuscript Incorrectly Prepared
• Other

In the four form rejection letters in Wollheim’s papers, the young writer was regularly dinged for failures of science, as in the rejection for his story “Saknarth,” dated exactly 80 years ago today (November 28, 1933). Interestingly, the rejection for Wollheim’s “The Second Moon” required a hand-alteration of the form–the story suffering from being “too short” rather than the more common flaw of being “too long” (see below).

Detail from Wonder Stories‘ form rejection letter for Wollheim’s “The Second Moon.” Donald A. Wollheim Papers. Call Number: MS 250, Box 4, Folder 8.

Would it have discouraged or further inspired the nineteen-year-old Wollheim to learn that these rejections came from an editor two years his junior? Hornig of Wonder Stories was indeed himself a “Wunderkind” — just seventeen in 1933 when he began editing the magazine that SF pioneer Hugo Gernsback had founded. In addition to the form rejections, Wollheim also earned several more personalized “no”s. In October of 1933, Hornig hailed Wollheim’s “Trans-Uranus” as “very interesting and unique in its theme,” but rejected it for its scientific failings. “The ship, traveling through the planet at the speed in the story,” the precocious Hornig explained, “would be volatilized instantly, and as the Moon-men had a bodily temperature of almost absolute zero, they would melt even sooner. As this is the redeeming factor in the story, and is incorrect, it ruins the tale entirely.”

Wollheim’s efforts did, ultimately, pay off as he succeeded in publishing his first story, “The Man From Ariel,” in the January 1934 issue of the magazine (though perhaps “pay off” is the wrong phrase since Gernsback, Wonder Stories‘ owner, failed to pay him until Wollheim and several fellow writers threatened to sue).

By 1940, Wollheim was himself an editor–of Stirring Science Stories–and aspiring writers were turning to him. He never did quite escape that criticism of scientific error, as his papers show. When a twenty-year-old Isaac Asimov wrote to Wollheim on December 18, 1940, to congratulate him on the first issue of Stirring Science Stories, he also couldn’t resist pointing out “a few flaws in science” in two of the issue’s tales, “Bones” and “Strange Return.” Asimov playfully concedes that such nitpicking from fans must be an editor’s pet peeve, but quips “That’s all right. Right now, I feel sore at editors (yes, you guessed it, I got me a rejection today).”

It does offer some solace to the rest of us that “The Greats” must survive rejection too!

Elspeth Healey
Special Collections Librarian