Book Review: Swampworld West

Book Review: 'Swampworld West' by Perry Chapdelaine

2 / 5 Stars

Perry Chapdelaine (1925 - 2015) was an American high school teacher and science fiction fan when, in 1950, he read L. Ron Hubbard's book 'Dianetics: the Modern Science of Mental Health'. Chapdelaine became an enthusiastic supporter of Dianetics, serving as an 'auditor' and running centers for the teaching and promotion of the topic. In 1954, following waning public interest in Dianetics, Chapdelaine reduced his involvement in the movement, but maintained his interest in science fiction.

A comprehensive account of Chapdelaine's life, with an emphasis on his involvement in Dianetics and Scientology, is posted to the 'scientolipedia' website. 

Chapdelaine published a number of stories for the digest market during the late 1960s and early 1970s. He also published, in the UK, two novels, 'Swampworld West' (1974) and 'The Laughing Terran' (1977). Neither was released in the US.

'Swampworld West' (156 pp.) first was published in hardback in 1974 by The Elmfield Press. The cover artist is uncredited. A paperback edition was issued in the UK by Coronet Books in 1976. 

The eponymous Swampworld is a planet, the entire surface of which is covered by water to a depth of four feet. Occasional outcroppings of dry land offer some degree of variety from the seemingly limitless vistas of swamp. The planetary ecology has, unsurprisingly, evolved life forms at home in shallow water; among these life forms are the Splurgs (depicted on the book's cover). The Splurgs are manlike beings, with sufficient sentience to live in tribes. Some tribes are content to live in the water, while others have, on dry land, erected villages comprised of rudimentary dwellings.

An unfortunate peculiarity of the Splurgs is their tendency, every five years, to engage in abnormally violent behavior. During this time of amok, they will kill each other, and any humans in the vicinity. The bouts of amok have crippled the advancement of Splurg society, and demand vigilance on the part of the Terran settlers, who have been colonizing the planet for generations.

While not the ideal choice for many settlers, Swampworld offers those of limited means the chance to own property and to attain a modest degree of financial independence. The Terran Emigration Bureau operates a spaceport on Swampworld, and provides a small, understaffed security force to oversee law and order. The settlers reside in compounds on the islands of Swampworld, and travel its watery courses in shallow-draft boats.

The novel is focused on two lead characters. One is Bob Carseegan, a rugged individualist with dark secrets in his past. The other is a Splurg named Marjac who, unlike his fellow Splurgs, has an intense curiosity about the strange aliens who have come to live on Swampworld.

In one plot thread, a reluctant Carseegan finds himself pressed to lead a flotilla of hapless settlers hundreds of kilometers, across a large swath of Swampworld, en route to a safe haven at Fort West. In another plot thread, Marjac entreats a Terran physician to investigate the cause of the amok and perhaps, propose a treatment.

In the closing chapters of 'Swampworld West' the two plots converge and with them, the future of the planet will be decided.

Author Chapdelaine's prose style can be overly wordy (the swamp grasses don't just stand above the water, they 'spire' over it). However, it's clear that the author has put some care and deliberation into constructing the ecology of the Swampworld.

I approached the final chapters of the novel inclined to give it a three-star rating, but then dropped it to two stars upon completion, mainly because the Big Revelation about the etiology of amok came across as overly complicated and contrived. Given that the causation of amok is a prominent theme throughout the narrative, it's too large a flaw to overlook.

Summing up, I can't say that 'Swampworld West' is worth searching out. However, those with the patience for a novel that mixes the 'Wagon Train in Danger' theme of Western literature with a treatment of an exotic planetary ecology, may find the book rewarding to some degree.

Do You Know by Secret Affair

'Do You Know'
by Secret Affair

from Get It Together (ITV)

Season 7, Episode 8, October 20, 1981

Secret Affair began in 1978 as a collaboration between London musicians Ian Page and David Cairns, who were interested in performing songs reminiscent of the Mod era of the 1960s. Recruiting Dennis Smith on bass, Seb Shelton on drums, and Dave Winthrop on saxophone, the band released their first album, Glory Days, in 1979 and went on to perform and record until splitting up in 1982.

While the Jam, another Mod revival band, got some exposure in the US, Secret Affair never got an equivalent amount of notice, which is a shame, because they were a pretty good band. 

'Get It Together' was a music show that aired in the UK on the ITV network from 1977 to 1981. The show was intended for children, and relied on lip-synched performances from Top 40, pop-centered acts. Often the material in a given episode could be insipid. 

The show tried to attract an older viewership by featuring New Wave acts, among them, the Pretenders, the Vapors ('Turning Japanese'), Madness, Nick Lowe, Dave Edmunds, Mink DeVille, and a young U2.

The October 20 1981 episode of 'Get It Together' features Secret Affair performing their song 'Do You Know' which was a track off their forthcoming third (and final) album, 'Business As Usual' (January 1982). The band begins at the 4:48 mark of the video. Yes, it's lip-synched, but still, a great song. 

Book Review: Deathworld

Book Review: 'Deathworld' by Harry Harrison

5 / 5 Stars

'Deathworld' first was published as a serial in Astounding Science Fiction in 1960, with a paperback compilation issued by Bantam later that year. This particular Bantam paperback edition (154 pp.) was published by Bantam in 1969, and features cover art by Jim Sharpe.

'Deathworld' was well received, so much so that Harrison went on to write two more volumes starring the lead character, Jason dinAlt. 'Deathworld 2' was published in 1964, and 'Deathworld 3', in 1968. There are softcover and hardcover omnibus editions of the 'Deathworld' trilogy available from publishers such as Orbit and Gollancz.

As 'Deathworld' opens, dinAlt - who is gifted with psi powers, including telekinesis -  is preparing for some recreational gambling at a casino on the planet Cassylia when he is approached by a squat, powerful man named Kerk Pyrrus. Kerk wants to bankroll dinAlt's gambling, to the tune of 27 million credits. With the proviso that the first 3 billion credits won by dinAlt will go into Kerk's pocket.

dinAlt initially objects to the proposal, but the lure of playing for high stakes makes him change his mind. As well, dinAlt is intrigued by Kerk and the planet he originates from: Pyrrus, an obscure world that does not readily welcome outsiders.

In due course, Jason dinAlt decides to travel to Pyrrus, where he discovers that the planet is a 'deathworld'. Not only is the weather treacherous and unpredictable, with hailstorms one moment and sweltering temperatures the next, but every living thing on the planet is unrelenting hostile to the human settlers, who struggle to maintain the walled city that serves as their final redoubt. Something as simple as a brief walk out of doors exposes one to an assault by plants, insects, and mammals, all with one goal in mind: the death of Homo sapiens. 

Recovering from his initial horror and amazement over the brutal reality of life on Pyrrus, dinAlt sets his mind to work on the mystery underlying the vicious contest between the native flora and fauna and the stolid, but unimaginative, Pyrrans. Was the planet always a deathworld ? And what is the story behind the 'grubbers', the detested outcasts who live in the wild lands far beyond the protection of the city walls ? 

Jason dinAlt is intent on finding the answers to these questions, but he needs to hurry. For the attacks on the city are growing more intense, and soon, even the indomitable Pyrrans will find themselves losing a battle they can't win.........

 

Perhaps because he began his career as a writer for comic books, Harrison doesn't provide much verbiage in the pages of 'Deathworld'. His prose style is crisp and devoid of affectation, save for brief segments of dialogue in which dinAlt tries to apprise the Pyrrans of philosophies that are markedly different from their 'shoot first, ask questions later' stance. The novel features the well-composed and well-written action scenes that were to become a major component of Harrison work. The only area in which I found 'Deathworld' to falter was in the Big Revelation that appears in the closing pages; it seemed a bit too glib, but then, by the standards of the denouements of early 1960s sci-fi novels, it is rather more imaginative than most.

Summing up, more than 60 years after its first publication, 'Deathworld' stands the test of time as an engaging and highly readable action-adventure novel, and one of the better sci-fi works of its era.

New reading for 2023

New Reading for 2023

Heading into January 2023, I invested in some eclectic paperbacks. Some fantasy, some sci-fi, some horror, and ('The Movement'), Youth Behaving Badly.These should see me through the upcoming Winter, if nothing else.

X-Men: God Loves Man Kills

X-Men: God Loves, Man Kills
Marvel Graphic Novel No. 5, 1982

'X-Men: God Loves, Man Kills' was written by Chris Claremont and illustrated by Brent Eric Anderson, with letters by Tom Orzechowski, colors by Steve Oliff, and edited by Louise Jones.

This was one of the inaugural Marvel Graphic Novels, which were designed to take advantage of the 'Direct Market' model of distribution and sales brought about by the growth of dedicated comic book stores across America. 

By 1982 the X-Men franchise was one of the most popular and profitable in comics and it was not at all unusual that Marvel would elect to issue a graphic novel about the superhero team. 

The lead writer for the X-Men, the UK-born Chris Claremont, had begun working at Marvel in 1969, and by 1982 had specialized in producing overwrought story lines which relentlessly, and unimaginatively, hammered home the concept that the struggles of mutants against bigotry and hate were stand-ins for the civil rights struggles taking place in America.

In ''God Loves, Man Kills', the X-Men confront the Reverend William Stryker, a fanatical Christian preacher who nurses an abiding loathing for mutantkind. Stryker has sent covert 'Purifier' teams to hunt down and either kill or abduct mutants, and also is lobbying the government to classify mutants as a danger to the welfare of the citizenry.

Across the 96 pages of the graphic novel, the X-Men battle the Purifiers, and Charles Xavier's pacifism in the face of Stryker's persecution sorely is tested. Magento allies himself with the X-Men, a development that is crucial to the team's chances of defeating Stryker's unholy crusade.

At the time it came out, 'God Loves, Man Kills' garnered a great deal of praise, with some reviewers at amazon claiming that reading the book back then, and now, brings to them deep emotion, even tears.

However, for me, 'God Loves, Man Kills' comes across as badly overwritten, with Anderson's art struggling to have an effect, burdened as it is by too many speech balloons. As for Claremont's script, it is so sententious and moralizing that it soon veers, and stays, into a kind of unintentional self-parody.

The only engaging segment of 'God Loves, Man Kills' is when the action moves to the ghetto, and some black and Puerto Rican gang-bangers (!) who decide to involve themselves in a faceoff between Kitty Pryde and the Purifiers. Alas, this segment, however promising, ends all too soon. It's something that, if even in a faint way, approaches the admirably irreverent stance the writers at 2000 AD and Judge Dredd brought to the 'mutant' theme.  

Following release of the 1982 edition, Marvel subsequently published the 'God Loves, Man KIlls' graphic novel in other softcover and hardcover printings, including an 'extended' version in which Claremont and Anderson provide additional pages.

Summing up, to me, 'God Loves, Man Kills' is an exemplar of the orotund, self-indulgent writing that characterized so much of Marvel's output during the 1980s and 1990s. 

If only U.S. readers had had greater access to material from the UK and 2000 AD, then there would have been the chance for them to see that there was more to be had from comics than the gaseous virtue signalling of the X-Men franchise.  

 50% Off at PM Press

As the year comes to a close, PM Press of Oakland is having a 50% off sale on much of its catalog. Use the coupon code GIFT at checkout. The offer expires on January 1, 2023, so don't dawdle.

If you haven't yet gotten any of the volumes pictured above, authored by Andrew Nette and Iain McIntyre, that deal with various genres of paperback books, then now is a good time to obtain them. 

PM also has a sizeable catalog of books in its 'Outspoken Authors' imprint, which is devoted to publishing ephemera from science fiction, horror, and crime novelists like Ursula Le Guin, Joe R. Lansdale, John Shirley, Elizabeth Hand, Michael Moorcock, and John Crowley, among others. Most hip, indeed............

Playboy December 1984

Playboy

December 1984

Let's go back in time 38 years, and celebrate December, 1984, along with Playboy magazine.

This is a prosperous time for the magazine; the December issue has a whopping 308 pages, crammed with ads for liquor, tobacco products, consumer electronics, clothing, and fitness gear. Anyone remember Jantzen sportwear....?!

Then there is something called the 'Aroma Disc' player - ?! Labeled a 'fragrance record diffuser', a kind of a cross between a Renuzit and a CD player, it sold very well when introduced in December 1983. 

You can find vintage units for sale at eBay.

As far as celebrity nudie action, the December 1984 issue featured Suzanne Somers, born in 1946 as Suzanna Mahoney. Somers was looking to raise her profile, having departed the hit TV series Three's Company in 1981. Somers plays it coy with the pictorial, keeping the action at an R-rated level, ostensibly because she had a 18 year-old son (who, according to the Wiki entry, saw the photos anyway).

Elsewhere in the December issue we get some additional 'celebrity skin' in the form of a 'Sex Stars of 1984' review:

There are the usual cartoons and, in 1984, the magazine had a section devoted to comic strips.

The fiction features in the magazine are high-powered, and include an excerpt from the 1984 novel by Mario Puzo, 'The Sicilian', which was set in the universe of the highly successful 'Godfather' franchise.

For nonfiction, we have another installment in the serialized version of the 1987 book by Michael Drosnin, 'Citizen Hughes', about the eccentric millionaire Howard Hughes. Don Ivan Punchatz provides a great illustration:

There's an advertising / marketing section devoted to the magic of - robots ! Yes, in '84, robots were available, to do simple things. The Roomba was still 17 years in the future (the first robot vacuum was the Swedish-made Trilobite, in 2001). But in '84 you could spend quite a bit of money on a robot that transported your drinks.

That's how it was, at the tail of end of 1984. Who knew what 1985 would bring.........?

The Daily Dredds for 2023

The Daily Dredds Volumes One and Two

2000 AD, 2014

I so liked the Judge Dredd daily comic strips that are compiled in a trade paperback, 'The Judge Dredd Collection', that for Christmas I went and purchased the two hardcover books, 'The Daily Dredds', that collect the dailies that appeared in the UK paper The Star from 1981 to 1989. I was able to get these in Very Good condition for a little over $45 total. 

It's unclear if Rebellion (the current owner of the 2000 AD franchise) are going to issue the strips published in the Star after 1989. But as for these, they are thick bricks of books, and promise enjoyable reading well into the New Year 2023 ! 

Merry Christmas All the Salsoul Orchestra

Merry Christmas All
by the Salsoul Orchestra

Christmas time is here

It's a jolly good time of the year

People somehow know

The Christmas spirit they show

The Salsoul Orchestra recorded a number of albums from 1974 to 1982. Comprised of session musicians, some of whom had previously worked for the Gamble and Huff studio in Philadelphia, the Orchestra released a Christmas album in 1976. Christmas Jollies is an excellent melding of the mid-70s disco sound with Christmas favorites. 

One track, 'Merry Christmas All', an original contribution, was written by the Orchestra's founder, Vincent Montana Jr. with his daughter Denise Montana on lead vocals. 

A video, featuring Denise lip-synching to the song, is available here. Dig it ! They don't make 'em like that anymore !

Any Similarity to Persons Living or Dead

Any Similarity to Persons Living or Dead is Purely Coincidental

by Drew Friedman and Josh Alan Friedman

Fantagraphics Books, 1985

Drew Friedman (b. 1958) and his older brother Josh Alan Friedman (b. 1956) are the sons of Bruce Jay Friedman (1930 - 2020), who during the 1950s was a prominent house writer for Martin Goodman's Magazine Management publishing company, before embarking on a successful career as a novelist and playwright.

The Friedman boys grew up submerged in the sensibility of the darker side of urban, New York City, Jewish humor. Drew Friedman attended New York's School of Visual Arts from 1978 to 1981, where Harvey Kurtzman was one of his instructors. Kurtzman provides a brief Forward to 'Any Similarity':

Drew Friedman was one of my more memorable students. It was like if Hitler was one of my more memorable students. You get the idea.

In 1978 the brothers began publishing cartoons and illustrations, some of these in Screw magazine. These cartoons were written by Josh Alan Friedman and featured the meticulous stippling of Drew Friedman. The brother focused their attention on the imagined antics of a generation of prewar and postwar actors and showbiz personalities who, as of the 1970s, either were dead, or elderly, and slipping from the public consciousness.

After starting with Screw, during the early 1980s the Friedmans moved into supplying work for mainstream magazines like Heavy Metal (which is where I first became aware of their stuff) and High Times, eventually branching into Raw and the National Lampoon, among other venues. 

'Any Similarity to Persons' (84 pp.) collects black and white and graytone pieces from the Friedman brothers over the interval from 1978 to 1985. It's a large, 9 x 12" trade paperback that displays the artwork to good effect.

In interviews, Drew Friedman indicates that he was trying to reproduce the look of black-and-white photographs with his artwork and this is what makes his imagery so distinctive. He and Josh Alan Friedman depict the characters rendered in these comics with a mixture of affection, pathos, cruelty, and sardonic humor. 

The last page of 'Any Similarity to Persons' provides a Glossary of some of the people and caricatures presented in the pages of the book; this helps give context to personalities that were obscure even at the time the Friedmans included them in their cartoons. 

I did find myself Googling more than a few of the featured subjects. For example, I had no idea that comedian Lou Costello's year-old son, Lou Costello, Jr., had drowned in the family pool in November, 1943, after slipping out from the bars of his playpen. 

An argument could be made that if 'Any Similarity to Persons' is to retain any resonance among modern-day readers, a reprint will have feature annotations of a more comprehensive nature. This is because the personalities satirized in its pages have slipped so far into obscurity that readers under the age of 60 likely will find much of the book's content inscrutable.

Those with the memories and a fondness for the pop culture icons of the era depicted in 'Any Similarity to Persons' will find the book engrossing. Even those lacking in familiarity with the era still may enjoy the book for its meticulous artwork and potent atmosphere of mordant comedy. 

I would be remiss if not pointing out that Drew Friedman has released other collections of his artwork, and his 2007 trade paperback, 'The Fun Never Stops', which focuses on pop culture of the 80s and 90s, likely will find greater rapport with with a younger generation of readers.