170 Ezine Excellere
170 Ezine English
Casa Juillet.
February 2016.
English ezine from Chile.
Margaret Hedda Johnson........ by Director Shaffer.
"Margaret Hedda Johnson was born in Chicago on December 9, 1900. In the early 1920s she attended the Chicago Academy of Fine Art where she studied fashion design. Afterwards, she became a freelance artist as a fashion illustrator for various newspapers. She married Myron "Slim" Brundage in 1927 and they had one son, Kerlyn. The marriage didn't last long and they separated, leaving Margaret to care for her child alone, as well as a mother in poor health, with little, if any, financial support from her husband. They divorced in 1939.
Desperate to get away from the mundane world of fashion -- and of black and white art -- she brought her portfolio to WEIRD TALES, "the magazine of the bizarre and unusual", whose offices were located in Chicago. The magazine was founded by publisher Clark Henneberger in 1923, and Farnsworth Wright took over as editor in 1924 after former editor Edwin Baird was fired. After seeing a drawing of an Oriental dancer, they gave her work as a cover artist for another of their titles, ORIENTAL STORIES, despite her limited knowledge of colour reproduction. Her first cover was for the Summer 1932 issue. (ORIENTAL STORIES would soon be renamed THE MAGIC CARPET; it only ran sporadically from October 1930 to January 1934.)
She moved on to the more famous WEIRD TALES with the September 1932 issue, and would paint a total of 66 covers for the magazine, including all nine of the Conan covers. One of those covers helped make the issue a sell-out. Illustrating "The Slithering Shadow", a Conan tale by Robert E. Howard, Brundage's cover showed a naked blonde in bondage being whipped by a scantily-clad brunette, set against a crimson background and exaggerated shadows.
She became the most prolific of the magazine's cover artists, with an unbroken streak from June, 1933 to September, 1936. (There was no August issue for 1936.) Her lurid covers were sensational and controversial, if their letters page, �The Eyrie�, is any indication. While fans -- and many of them were female -- didn't object to the nudity, some thought the covers were misrepresenting the magazine as sleazy trash rather than as a distinguished periodical of weird fiction. But Brundage's nude covers sold issues, and that was all that Wright needed to know. She signed her name "M. Brundage". This is how she was credited in the magazine until the February 1935 issue, where her full name is given, identifying her as a woman. (This may have been an attempt at mollifying the critics who thought the covers were sexist and misogynistic.)
Brundage's fashion training all but went out the window. Occasionally she would sneak in a pretty dress, but usually her soft-skinned heroines were either completely naked or covered in nothing more than a wisp of gossamer. With wide eyes and parted lips, these damsels in peril were being menaced by monsters or dagger-wielding cultists; often they were in bondage being whipped by evil priestesses; sometimes they were the ones in control, running naked through the snow with wolves. In any case, they were young and built like goddesses. There was little, if any, background in the composition, but always there were sexy, shapely females to titillate the viewer. Actually, there was a female on all but three of Brundage's covers (the April, May and August 1935 issues being the exceptions). Of Brundage's 66 WEIRD TALES covers, a dozen featured bondage and/or flagellation.
Brundage visited Farnsworth Wright at the WEIRD TALES offices at least once a month. A particular scene from a story was chosen for her to illustrate, often one of bondage and sadism or with lesbian overtones, and Brundage would submit a few pencil sketches. Wright would then choose one to be rendered for the cover. Not surprisingly, writers would sometimes fit a bondage and whipping sequence into their yarn hoping to make the cover.
Brundage rarely used models to work from. Occasionally a friend would pose for the female figures, but she usually worked from the pure ether of her imagination. She was paid $90 per cover, always rendered in pastels, her chosen medium, and usually measuring 20 inches in height, but with varying widths. She was rarely asked to make corrections and, under Wright's editorship, never asked to cover up her nudes. "They would always pick the one with the least amount of clothing," Brundage said. What's more, she was asked "to make larger and larger breasts".
WEIRD TALES was sold in 1938 to a New York publisher, where the editorial offices were also located. Dorothy McIlwraith was brought in to assist Wright. Office politics and health issues forced Wright to resign by 1940, and he died later that year from Parkinson's disease. McIlwraith became the new editor.
Because Brundage could no longer deliver the artwork in person it had to be shipped, which meant she had to create covers in much less time. This, coupled with the fact that the pastels would smear during shipping causing a need for corrections and more shipping, marked the end of Brundage's reign as leading cover artist for the magazine. She made one attempt at oils, which the editors didn't like, and after the October 1938 issue she only did eight more WEIRD TALES covers, the last being for the January 1945 issue. (She did no covers for the 1939 issues.) The magazine went to bi-monthly status after 1939, so even if she had remained Queen of the Pulps her earnings would have been halved. In the late 1930s under new ownership the covers were no longer risque. Wright's two other discoveries, Virgil Finlay and Hannes Bok, both amazing artists, were on hand to provide technically proficient and bizarre covers (respectively), and help bring the magazine back to its weird roots. The magazine continued until September 1954.
Brundage, one of the few women artists working for pulp magazines, lived mostly in obscurity and poverty. She continued painting and gave some brief interviews in the 1970s. She died April 9, 1976, predeceased by her son, who died in 1972.
Her covers for Weird Tales are highly valued by collectors, and the originals sell for large sums at auction. The cover for the September 1932 issue of Weird Tales (her first for that magazine) sold for $50,000 in 2008, and in 2010 the cover for the January 1936 issue sold for $37,000. Often overlooked, often underrated, the best of Margaret Brundage's pastel covers for the pulps deserve to be hanging in museums!"
De:
"Mike Russell autolycus0152@yahoo.com [pbscans]"
A:
"pbscans@yahoogroups.com"
Encabezados completos Vista imprimible
Here's are two Internet Archive/Open Library finds (not on Carlo's List).
They are complete cover-to-cover Internet Archive/Open Library scans in .pdf format of both of the novels in the Josey Wales series by Forrest Carter (pseudonym of Asa Earl Carter, 1925-1979).
The Outlaw Josey Wales is one of my all-time favorite Western movies with one of the classic cinematic dialogue exchanges:
Bounty hunter: You're wanted, Wales.
Josey Wales: Reckon I'm right popular. You a bounty hunter?
Bounty hunter: A man's got to do something for a living these days.
Josey Wales: Dyin' ain't much of a living, boy.
So, I was excited to find both of the books in the Josey Wales series at the Open Library, Gone To Texas (the book on which the movie was based) and its sequel The Vengeance Trail Of Josey Wales. But after reading about the author in the course of formulating this post, I had severe reservations about posting them in light of the author's racist past.
Forrest Carter was apparently a violent, racist, miserable excuse for a human being. He once shot two fellow Klansmen over an argument about money. He allegedly died as violently as he had lived, from a heart attack after a fistfight with his son.
Is it possible to separate the life of an author from their literary creations?
Read the biographical sketch of Forrest Carter below and decide for yourself.
Thanks should go to the original scanner at the Internet Archive/Open Library.
I've uploaded the files to Mega.
They are .pdf files contained in .zip files (which are searchable .pdfs with OCR'd text). After downloading the .zip file, simply unzip it and extract the .pdf file.
1. Gone To Texas. By Forrest Carter ([New York]: Delacorte Press / Eleanor Friede, [1975]) (206 pages) (Dust jacket art by Al Pisano) {PDF} (18.5 MB)
https://mega.nz/#!NoNghBQI!sCxxreKgT3aEvjcFsQmvLQqbtZS7e7eW08HrQSgxmyE
The Rebel Outlaw: Josey Wales is a 1973 American Western novel written by Forrest Carter that was adapted into the film The Outlaw Josey Wales directed by and starring Clint Eastwood.
It was originally published in hardcover in 1973 by a small publishing firm in Gantt, Alabama, Whipporwill Publishers. It is believed that only 75 copies of the 1973 First Edition were ever published (one of which was sent by the author to Clint Eastwood unsolicited, which led to the film adaptation) so it is quite a rare book today. Only one copy is currently for sale on the major used book sites, priced at $7,500. The novel was republished in hardcover in 1975 by Delacorte Press / Eleanor Friede under the title Gone To Texas.
I added an image of the First Edition dust jacket to the end of the file so that you could see what it looked like.
Plot Synopsis:
Josey Wales, a Missouri farmer, seeks vengeance when his family is murdered by a gang of Union militants during the American Civil War.
From the dust jacket:
"Josey Wales lost his young wife and child to...Civil War destruction and, like Jesse James and other young farmers, joined the guerrilla soldiers of Missouri�men with no cause but survival and no purpose but revenge.
A hunted fugitive with a price on his head and bands of cavalry and bounty hunters on his trail, Josey and a Cherokee friend, Lone Watie, set out for the West through the dangerous Comanchero territory. Hiding by day, traveling by night, they are joined by an Indian woman named Little Moonlight, and rescue an old woman and her granddaughter from their besieged wagon. Now there are five of them, bonded for survival, moving southward to Texas, winning through a brash and honest violence the surprise chance for a new way of life."
"Forrest Carter's novel is a moving, exciting story about real characters who come alive on every page. His plot has the ring of authenticity. The sequence with Ten Bears is an unforgettable and suspenseful reading experience. In fact, I liked the entire book so much that I have bought it for my next starring vehicle."�Clint Eastwood.
"Gone To Texas is hard to put down as a novel of the West. As true American history, which it is, there's no putting it down at all."�
Richard Bach, author of Jonathan Livingston Seagull.
"Authentic in detail, exciting, stark, brutal, with uncompromising reality..."�Historical Book Society.
2. The Vengeance Trail Of Josey Wales. By Forrest Carter ([New York]: Delacorte Press / Eleanor Friede, [1976]) (202 pages) (Dust jacket art by Al Pisano) {PDF} (20.6 MB)
https://mega.nz/#!dwllnAKb!yn_SS9xi1dZqEpVro5xYAEzylFhLL13h4RGm_-XNR8Y
About The Movie:
The Outlaw Josey Wales is a 1976 American revisionist Western DeLuxe Color and Panavision film set during and after the American Civil War. It was directed by and starred Clint Eastwood (as the eponymous Josey Wales), with Chief Dan George, Sondra Locke, Sam Bottoms, and Geraldine Keams. The film tells the story of Josey Wales, a Missouri farmer whose family is murdered by Union militants during the Civil War. Driven to revenge, Wales joins a Confederate guerrilla band and fights in the Civil War. After the war, all the fighters in Wales' group except for Wales surrender to Union officers, but they end up being massacred. Wales becomes an outlaw and is pursued by bounty hunters and Union soldiers.
The film was adapted by Sonia Chernus and Philip Kaufman from author Forrest Carter's 1973 novel The Rebel Outlaw: Josey Wales (republished, as shown in the movie's opening credits, as Gone To Texas). Forrest Carter was an alias assumed by Asa Carter: a former Ku Klux Klan leader, a speechwriter for George Wallace, and later an opponent of Wallace for Governor of Alabama on a white supremacist platform. In 1996, the film was selected for preservation in the National Film Registry of the Library of Congress. The film was a commercial success, earning $31.8 M against a $3.7 M budget.
Josey Wales was portrayed by Michael Parks in the 1986 sequel to the film The Return Of Josey Wales.
About The Author:
Asa Earl Carter (September 4, 1925 � June 7, 1979) was a Ku Klux Klan leader, segregationist speech writer, and later western novelist. He co-wrote George Wallace's well-known pro-segregation line, "Segregation now, segregation tomorrow, segregation forever", and ran for governor of Alabama on a segregationist ticket. In addition, under the alias of supposedly Cherokee writer Forrest Carter, he wrote The Rebel Outlaw: Josey Wales (1972), a novel that led to a 1976 National Film Registry film and The Education Of Little Tree (1976), a best-selling, award-winning book which was marketed as a memoir but which turned out to be fiction.
In 1976, following the success of his Western novel The Rebel Outlaw: Josey Wales (1972) and its 1976 film adaptation, The New York Times revealed Forrest Carter was actually southerner Asa Earl Carter. His background became national news again in 1991 after his purported memoir, The Education Of Little Tree (1976), was re-issued in paperback, topped the Times paperback best-seller lists (both non-fiction and fiction), and won the American Booksellers Book of the Year (ABBY) award.
Prior to his literary career as "Forrest", Carter was politically active for years in Alabama as an opponent of the civil rights movement: he worked as a speechwriter for segregationist Governor George Wallace of Alabama, founded the North Alabama Citizens Council (NACC) � an independent offshoot of the White Citizens' Council movement � and an independent Ku Klux Klan group, and started a pro-segregation monthly, titled The Southerner.
Asa Carter was born in Oxford, Alabama in 1925, the second eldest of four children. Despite later claims (as author "Forrest" Carter) that he was orphaned, he was raised by his parents Ralph and Hermione Carter in nearby Oxford, Alabama. Both parents lived into Carter's adulthood.
Carter served in the United States Navy during World War II and for a year studied journalism at the University of Colorado on the G.I. Bill. After the war, he married India Thelma Walker. The couple settled in Birmingham, Alabama and had four children.
Carter worked for several area radio stations before ending up at station WILD in Birmingham, where he worked from 1953 to 1955. Carter's broadcasts from WILD, sponsored by the American State's Rights Association, were syndicated to more than 20 radio stations before the show was cancelled. Carter was fired following community outrage about his broadcasts and a boycott of WILD. Carter broke with the leadership of the Alabama Citizen's Council movement over the incident. He refused to tone down his anti-Semitic rhetoric, while the Citizen's Council preferred to focus more narrowly on preserving racial segregation of Blacks.
Carter started a renegade group called the North Alabama Citizen's Council. In addition to his careers in broadcasting and politics, Carter during these years ran a filling station. By March 1956, he was making national news as a spokesman for segregation. Carter was quoted in a UP newswire story, saying that the NAACP had "infiltrated" Southern white teenagers with "immoral" rock and roll records. Carter called for jukebox owners to purge all records by black performers from jukeboxes.
Carter made the national news again on September 1 and 2 of the same year, after he gave an inflammatory anti-integration speech in Clinton, Tennessee. He addressed Clinton's high school enrollment of 12 black students, and after his speech an aroused mob of 200 white men stopped black drivers passing through, "ripping out hood ornaments and smashing windows". They were heading for the house of the mayor before being turned back by the local sheriff. Carter appeared in Clinton alongside segregationist John Kasper, who was charged later that same month with sedition and inciting a riot for his activities that day. Later that year, Carter ran for Police Commissioner against former office holder Bull Connor, who won the election. Connor later became nationally famous for his heavy-handed approach to law enforcement during the civil rights struggles in Birmingham.
In 1957, Carter and his brother James were jailed for fighting against Birmingham police officers. The police were trying to apprehend another of the six in their group, who was wanted for a suspected Ku Klux Klan (KKK) shooting. Also during the mid-1950s, Carter founded a paramilitary KKK splinter group, called the "Original Ku Klux Klan of the Confederacy". Carter started a monthly publication entitled The Southerner, devoted to purportedly scientific theories of white racial superiority, as well as to anti-communist rhetoric.
Members of Carter's new KKK group attacked singer Nat King Cole at an April 1956 Birmingham concert. After a more violent event, four members of Carter's Klan group were convicted of a September 1957 abduction and attack on a black handyman named Judge Edward Aaron. They castrated Aaron, poured turpentine on his wounds, and left him abandoned in the trunk of a car near Springdale, Alabama. Police found Aaron, near death from blood loss. (Carter was not with the men who carried out this attack). In 1963, a parole board, appointed by Carter's then-employer Alabama governor George Wallace, commuted the sentences of the four men convicted of attacking Aaron.
In 1958, Carter quit the Klan group he had founded after shooting two members in a dispute over finances. Birmingham police filed attempted murder charges against Carter, but the charges were subsequently dropped. Carter also ran a campaign for Lieutenant Governor the same year that saw him finish fifth in a field of five.
During the 1960s, Carter was a speechwriter for Wallace. He was one of two men credited with Wallace's famous slogan, "Segregation now, segregation tomorrow, segregation forever", part of Wallace's 1963 inaugural speech. Carter continued to work for Wallace, and after Wallace's wife Lurleen was elected Governor of Alabama in 1966, Carter worked for her. Wallace never acknowledged the role Carter played in his political career, however:
Till the day he died, George Wallace denied that he ever knew Asa Carter. He may have been telling the truth. 'Ace', as he was called by the staff, was paid off indirectly by Wallace cronies, and the only record that he ever wrote for Wallace was the word of former Wallace campaign officials such as finance manager Seymore Trammell.
When Wallace decided to enter national politics with a 1968 presidential run, he did not invite Carter on board for the campaign, as he sought to tone down his reputation as a segregationist firebrand. During the late 1960s, Carter grew disillusioned by what he saw as Wallace's liberal turn on race.
Carter ran against Wallace for governor of Alabama in 1970 on a white supremacist platform. Carter finished last in a field of five candidates, winning only 1.51% of the vote in an election narrowly won by Wallace over the more moderate Governor Albert Brewer. At Wallace's 1971 inauguration, Carter and some of his supporters demonstrated against him, carrying signs reading "Wallace is a bigot" and "Free our white children". The demonstration was the last notable public appearance by "Asa Carter".
After losing the election, Carter relocated to Abilene, Texas, where he started over. He began work on his first novel, spending days researching in Sweetwater's public library. He distanced himself from his past, began to call his sons "nephews", and renamed himself Forrest Carter, after Nathan Bedford Forrest, the first Grand Wizard of the Ku Klux Klan and a general of the Confederate army who fought in the Civil War.
Carter moved to St. George's Island, Florida in the 1970s where he completed a sequel to his first novel, as well as two books on American Indian themes. Carter separated from his wife, who remained in Florida. In the late 1970s, he again settled in Abilene, Texas.
Carter's best-known fictional works are The Rebel Outlaw: Josey Wales (1973, republished in 1975 as Gone To Texas) and The Education Of Little Tree (1976), originally published as a memoir. The latter sold modestly � as fiction � during Carter's life; it became a sleeper hit in the late 1980s and throughout the 1990s.
Clint Eastwood directed and starred in a film adaptation of Josey Wales, retitled The Outlaw Josey Wales (1976), after Carter sent the book to his offices as an unsolicited submission, and Eastwood's partner read and put his support behind it. At this time, neither man knew of Carter's past as a Klansman and rabid segregationist. In 1997, after the success of the paperback edition of The Education Of Little Tree, a film adaptation of the second book was produced. Originally intended as a made-for-TV movie, it was given a theatrical release.
In 1976, Carter published the sequel to The Rebel Outlaw: Josey Wales, entitled The Vengeance Trail Of Josey Wales which Clint Eastwood planned to film as a sequel to The Outlaw Josey Wales, but the project was eventually cancelled.
In 1978, Carter published Watch For Me On The Mountain, a fictionalized biography of Geronimo. It was reprinted in 1980 in an edition titled, Cry Geronimo!
Carter spent the last part of his life trying to conceal his background as a Klansman and segregationist, claiming categorically in a 1976 The New York Times article that he, Forrest, was not Asa Carter. The article details how as Forrest, Carter was interviewed by Barbara Walters on the Today show in 1974. He was promoting The Rebel Outlaw: Josey Wales, which had begun to attract readers beyond the confines of the Western genre. Carter, who had run for a campaign for governor of Alabama (as Asa Carter) just four years earlier in a campaign which included television advertising, was identified from this Today show appearance by several Alabama politicians, reporters and law enforcement officials. The Times also reported that the address Carter used in the copyright application for The Rebel Outlaw was identical to the one that he used in 1970 while running for governor. �Beyond denying that he is Asa Carter�, the Times noted, �the author has declined to be interviewed on the subject.�
When the story of Carter�s deception hit the news, it was inevitable that Clint Eastwood would be drawn into the controversy. From Clint Eastwood: A Biography by Richard Schickel, published by Alfred A. Knopf New York 1996:
"Clint was on location, making Unforgiven, when this article appeared, and he sent a polite letter to the Times, pointing out that he had met the man he knew as Forrest Carter only once. He also observed, �If Forrest Carter was a racist and a hatemonger who later converted to being a sensitive, understanding human being, that would be most admirable.�"
But maybe that wasn�t the case either � or possibly Eastwood was being diplomatic. Schickel also relates that Clint�s producer on Josey Wales, Bob Daley saw another side to Carter:
"He saw a decent side to the man, reflected in warm, supportive letters he received from Carter on the death of his father. He also saw vicious anti-Semitism, directed at William Morris agents, when the arguments about money started up. He finally came to the conclusion that Carter was basically an opportunist, willfully burying � but not necessarily abandoning � his racism so that he could rejoin decent society."
Carter was working on The Wanderings Of Little Tree, a sequel to The Education Of Little Tree, as well as a screenplay version of the book, when he died in Abilene on June 7, 1979. The cause of death, reported as heart failure, was alleged to have resulted from a fistfight with his son. Carter's body was returned to Alabama for burial near Anniston.
No one will ever know what Carter�s thoughts and attitudes really were, whether he was, as Clint Eastwood thought, "a hatemonger who later converted to being a sensitive, understanding human being." But the evidence, such as his public denial that he was Asa Earl Carter, would support Daley�s claim that he was an opportunist, whose attitudes could and would be put to the side where financial gain was concerned.
But having said that, as the popularity of the books would attest, Carter was a good writer who wrote stories that were not racist, and depicted Indians in a light that had never really been seen in main stream fiction at that time.
Carter is certainly an enigma. And despite what his actual beliefs may have been, there is no denying that Gone To Texas is a great western story, and a thoroughly entertaining read.
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Here's an Internet Archive/Open Library find (not on Carlo's List).
It's a complete cover-to-cover Internet Archive/Open Library scan in .pdf format of the 1979 Reed Books oversized trade paperback First Edition of Fantastic Planets by Jean-Claude Suares and Richard Siegel, with text by David Owen.
Thanks should go to the original scanner at the Internet Archive/Open Library.
I've uploaded the file to Mega.
It's a .pdf file contained in a .zip file (which is a searchable .pdf with OCR'd text). After downloading the .zip file, simply unzip it and extract the .pdf file.
Fantastic Planets. By Jean-Claude Suares And Richard Siegel. Text By David Owen ([Danbury, NH: Reed Books (a division of Addison House, Inc.), 1979]) (160 pages) {PDF} (24.4 MB)
https://mega.nz/#!Atl2QCIB!_a08_AzxTldETPcPyXwHtqdW1pv7WZmx33Ob0UbvwEc
Fantastic Planets is a pictorial book on science fiction in movies and tv, in comics, and in literature. It was originally published simultaneously in both hardcover and large format trade paperback in 1979 by Reed Books. It's profusely illustrated with 54 color photographs and 138 black & white photographs, including a few reproductions of pulp covers and illustrations.
From the dust jacket:
"They've landed! They've landed!" With the initial panic over, the burning question is, "Where did They come from?" The authors of Alien Creatures now take you on an incredible visual journey to the planets and galaxies that spawned them.
As the mysteries of our own earth become yesterday's news, Man seeks other homes where human and other life exist. His unquenchable thirst for the Unknown has compelled him to turn his eyes to the heavens, and his imagination toward the enigma of the Universe.
These flights of fancy take place on huge and powerful spaceships. Melodramatic landings in the Moon's eye, dangerous visits to Mars with Flash Gordon, the Moon's enigmatic monolith, Barbarella's city, the Forbidden Planet, skies full of suns and moons that shine upon ominous deserted places, all reached at speeds where time and space stand still. But where does speculation end and reality begin?
As we near the 21st Century, science at last seems to be catching up with the fabulous creations of SF literature and cinema, but the NASA spacecraft that have traveled to the Moon, Venus, Mars, and beyond seem but dull imitations of the marvelous visions of Jules Verne and H. G. Wells, brought brilliantly to life by George Melies, Stanley Kubrick, Steven Spielberg, and George Lucas.
Will we really find Cylons and other dastardly intergalactic armies with whom to do battle in the eternal struggle of good vs. evil? Movies, television,and comics shout a resounding, "Yes!"
Find out for yourselves! Travel at the speed of light with Richard Siegel, J-C Suares, and David Owen as they reveal the Moon, Mars, the rest of the Solar System, and the Great Beyond, on a journey you won't soon forget."
About Jean-Claude Suares:
Jean-Claude Suares (March 30, 1942 � July 30, 2013) was an artist, illustrator, editor, and creative consultant to many publications, and the first Op-Ed page art director at The New York Times.
Suares was born on March 30, 1942, in Alexandria, Egypt, to a Sephardic father. He and his family moved from Egypt to Italy when he was a teenager. Later, he moved to New York, where he briefly attended Pratt Institute. In the 1960s, he joined the U.S. Army paratroopers and was sent to Vietnam, where he worked on staff for Stars and Stripes. He also spoke several languages. In 1973, Suares arranged an exhibition of Op-Ed art at the Mus�e des Arts D�coratifs in Paris. For over 30 years his comic drawings appeared in The New York Times, on the covers of The New Yorker and The Atlantic Monthly, and in other periodicals and books. He wrote, edited or designed scores of illustrated books. He was also involved in book publishing. He worked with Jacqueline Kennedy Onassis at Doubleday. He also designed Michael Jackson�s autobiography, Moonwalk. Suares was in one movie in 1973, It Happened In Hollywood.
A resident of Harrington Park, New Jersey, Suares died on July 30, 2013, at Englewood Hospital and Medical Center in Englewood, New Jersey as a result of a bacterial infection. He was 71.
About Richard Siegel:
Richard Siegel (1955-) is an American illustrator, comics artist, filmmaker, and author. He is the author of the SF novel Alien Plague (1979), under the pseudonym Stephard Noir, in which a medical Disaster is sourced to the Outer Planets. Under his own name, he is best known for an SF satire framed as a photo-documentary, The Extraterrestrial Report: The First Fully Documented Account Exposing The Awful Danger From Beyond (A & W Visual Library, 1978), which spoofs various paranoias, including UFO "sightings". More recently, from 2005 to 2007, Siegel contributed several sf spoofs to the Weekly World News.
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Alfredo Juillet Frascara, 71 years. He was born in Santiago de Chile, May 30 1944, is a Chilean painter, author and sculpturer. He is the author of the SF novel "Jaukmoon", "Mars", "Knapp", and many others. He currently lives in the field, still working in his projects, and the last novel is "Kenate", where the action happens in the Second Brana. Some of his works appears in Scribd.
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Here's an Internet Archive/Open Library find (not on Carlo's List).
It's a complete cover-to-cover Internet Archive/Open Library scan in .pdf format of the 1997 Tor trade paperback reprint of The Williamson Effect, edited by Roger Zelazny.
Thanks should go to the original scanner at the Internet Archive/Open Library.
I've uploaded the file to Mega.
It's a .pdf file contained in a .zip file (which is a searchable .pdf with OCR'd text). After downloading the .zip file, simply unzip it and extract the .pdf file.
The Williamson Effect. [Original Stories In Tribute To Grand Master Jack Williamson]. Edited By Roger Zelazny. [Introduction By David Brin] (New York: Tor (A Tom Doherty Associates Book), [1997]) (349 pages) (Cover art by Nicholas Jainschigg) {PDF} (35.9 MB)
https://mega.nz/#!p4cGBTRJ!ZGvMfAc41uaOfwC1nqAPFY9ekiJMDIwM-ftEpydVMnM
The Williamson Effect is an original anthology of fifteen SF short stories and one poem, about or inspired by science fiction Grand Master Jack Williamson (1908-2006). It was originally published in hardcover in 1996 by Tor. This 1997 Tor edition marked its first appearance in paperback.
SF author Roger Zelazny (1937-1995), winner of six Hugo and three Nebula awards and the editor of this collection, died of cancer on June 14, 1995. Before his death, he had completed the majority of the editorial work for The Williamson Effect. In keeping with the tradition Zelazny had established as editor for other collections, Jim Frenkel provided short introductions for each story. Jane Lindskold assisted with tying up loose ends and coordinating the collection for publication.
From the back cover:
"A TRIBUTE TO JACK WILLIAMSON - THE DEAN OF MODERN SCIENCE FICTION.
WITH AN INTRODUCTION BY DAVID BRIN,THE WILLIAMSON EFFECT INCLUDES ALL ORIGINAL SHORT STORIES, WITH AFTERWORDS, COMMISSIONED ESPECIALLY FOR THIS BOOK, FEATURING SUCH ENTHRALLING TALES AS:
"The Bad Machines" by Fred Sabertiagen: an unlucky crew is caught between the Humanoids and the Berserkers...
"The Mayor Of Mare Tranq" by Frederik Pohl: see Jack Williamson himself become a real American hero...
"Nonstop To Portales" by Connie Willis: the story of a strange bus tour that changes one man's life...
"Inside Passage" by Poul Anderson: a chilling sequel to Williamson's seminal fantasy, Darker Than You Think...
"Thinkertoy" by John Brunner: a gripping homage to Williamson's classic work of robots gone wild, The Humanoids...
"On looking back over his long and influential career, I have no hesitation in placing Jack Williamson on a level with the two other American giants, Isaac Asimov and Robert Heinlein."�Arthur C. Clarke.
"Any fan of Williamson, or of science fiction for that matter, will thoroughly enjoy The Williamson Effect."�The Post and Courier, Charleston, South Carolina.
The End..-.-
Casa Juillet.
February 2016.
English ezine from Chile.
Margaret Hedda Johnson........ by Director Shaffer.
"Margaret Hedda Johnson was born in Chicago on December 9, 1900. In the early 1920s she attended the Chicago Academy of Fine Art where she studied fashion design. Afterwards, she became a freelance artist as a fashion illustrator for various newspapers. She married Myron "Slim" Brundage in 1927 and they had one son, Kerlyn. The marriage didn't last long and they separated, leaving Margaret to care for her child alone, as well as a mother in poor health, with little, if any, financial support from her husband. They divorced in 1939.
Desperate to get away from the mundane world of fashion -- and of black and white art -- she brought her portfolio to WEIRD TALES, "the magazine of the bizarre and unusual", whose offices were located in Chicago. The magazine was founded by publisher Clark Henneberger in 1923, and Farnsworth Wright took over as editor in 1924 after former editor Edwin Baird was fired. After seeing a drawing of an Oriental dancer, they gave her work as a cover artist for another of their titles, ORIENTAL STORIES, despite her limited knowledge of colour reproduction. Her first cover was for the Summer 1932 issue. (ORIENTAL STORIES would soon be renamed THE MAGIC CARPET; it only ran sporadically from October 1930 to January 1934.)
She moved on to the more famous WEIRD TALES with the September 1932 issue, and would paint a total of 66 covers for the magazine, including all nine of the Conan covers. One of those covers helped make the issue a sell-out. Illustrating "The Slithering Shadow", a Conan tale by Robert E. Howard, Brundage's cover showed a naked blonde in bondage being whipped by a scantily-clad brunette, set against a crimson background and exaggerated shadows.
She became the most prolific of the magazine's cover artists, with an unbroken streak from June, 1933 to September, 1936. (There was no August issue for 1936.) Her lurid covers were sensational and controversial, if their letters page, �The Eyrie�, is any indication. While fans -- and many of them were female -- didn't object to the nudity, some thought the covers were misrepresenting the magazine as sleazy trash rather than as a distinguished periodical of weird fiction. But Brundage's nude covers sold issues, and that was all that Wright needed to know. She signed her name "M. Brundage". This is how she was credited in the magazine until the February 1935 issue, where her full name is given, identifying her as a woman. (This may have been an attempt at mollifying the critics who thought the covers were sexist and misogynistic.)
Brundage's fashion training all but went out the window. Occasionally she would sneak in a pretty dress, but usually her soft-skinned heroines were either completely naked or covered in nothing more than a wisp of gossamer. With wide eyes and parted lips, these damsels in peril were being menaced by monsters or dagger-wielding cultists; often they were in bondage being whipped by evil priestesses; sometimes they were the ones in control, running naked through the snow with wolves. In any case, they were young and built like goddesses. There was little, if any, background in the composition, but always there were sexy, shapely females to titillate the viewer. Actually, there was a female on all but three of Brundage's covers (the April, May and August 1935 issues being the exceptions). Of Brundage's 66 WEIRD TALES covers, a dozen featured bondage and/or flagellation.
Brundage visited Farnsworth Wright at the WEIRD TALES offices at least once a month. A particular scene from a story was chosen for her to illustrate, often one of bondage and sadism or with lesbian overtones, and Brundage would submit a few pencil sketches. Wright would then choose one to be rendered for the cover. Not surprisingly, writers would sometimes fit a bondage and whipping sequence into their yarn hoping to make the cover.
Brundage rarely used models to work from. Occasionally a friend would pose for the female figures, but she usually worked from the pure ether of her imagination. She was paid $90 per cover, always rendered in pastels, her chosen medium, and usually measuring 20 inches in height, but with varying widths. She was rarely asked to make corrections and, under Wright's editorship, never asked to cover up her nudes. "They would always pick the one with the least amount of clothing," Brundage said. What's more, she was asked "to make larger and larger breasts".
WEIRD TALES was sold in 1938 to a New York publisher, where the editorial offices were also located. Dorothy McIlwraith was brought in to assist Wright. Office politics and health issues forced Wright to resign by 1940, and he died later that year from Parkinson's disease. McIlwraith became the new editor.
Because Brundage could no longer deliver the artwork in person it had to be shipped, which meant she had to create covers in much less time. This, coupled with the fact that the pastels would smear during shipping causing a need for corrections and more shipping, marked the end of Brundage's reign as leading cover artist for the magazine. She made one attempt at oils, which the editors didn't like, and after the October 1938 issue she only did eight more WEIRD TALES covers, the last being for the January 1945 issue. (She did no covers for the 1939 issues.) The magazine went to bi-monthly status after 1939, so even if she had remained Queen of the Pulps her earnings would have been halved. In the late 1930s under new ownership the covers were no longer risque. Wright's two other discoveries, Virgil Finlay and Hannes Bok, both amazing artists, were on hand to provide technically proficient and bizarre covers (respectively), and help bring the magazine back to its weird roots. The magazine continued until September 1954.
Brundage, one of the few women artists working for pulp magazines, lived mostly in obscurity and poverty. She continued painting and gave some brief interviews in the 1970s. She died April 9, 1976, predeceased by her son, who died in 1972.
Her covers for Weird Tales are highly valued by collectors, and the originals sell for large sums at auction. The cover for the September 1932 issue of Weird Tales (her first for that magazine) sold for $50,000 in 2008, and in 2010 the cover for the January 1936 issue sold for $37,000. Often overlooked, often underrated, the best of Margaret Brundage's pastel covers for the pulps deserve to be hanging in museums!"
De:
"Mike Russell autolycus0152@yahoo.com [pbscans]"
A:
"pbscans@yahoogroups.com"
Encabezados completos Vista imprimible
Here's are two Internet Archive/Open Library finds (not on Carlo's List).
They are complete cover-to-cover Internet Archive/Open Library scans in .pdf format of both of the novels in the Josey Wales series by Forrest Carter (pseudonym of Asa Earl Carter, 1925-1979).
The Outlaw Josey Wales is one of my all-time favorite Western movies with one of the classic cinematic dialogue exchanges:
Bounty hunter: You're wanted, Wales.
Josey Wales: Reckon I'm right popular. You a bounty hunter?
Bounty hunter: A man's got to do something for a living these days.
Josey Wales: Dyin' ain't much of a living, boy.
So, I was excited to find both of the books in the Josey Wales series at the Open Library, Gone To Texas (the book on which the movie was based) and its sequel The Vengeance Trail Of Josey Wales. But after reading about the author in the course of formulating this post, I had severe reservations about posting them in light of the author's racist past.
Forrest Carter was apparently a violent, racist, miserable excuse for a human being. He once shot two fellow Klansmen over an argument about money. He allegedly died as violently as he had lived, from a heart attack after a fistfight with his son.
Is it possible to separate the life of an author from their literary creations?
Read the biographical sketch of Forrest Carter below and decide for yourself.
Thanks should go to the original scanner at the Internet Archive/Open Library.
I've uploaded the files to Mega.
They are .pdf files contained in .zip files (which are searchable .pdfs with OCR'd text). After downloading the .zip file, simply unzip it and extract the .pdf file.
1. Gone To Texas. By Forrest Carter ([New York]: Delacorte Press / Eleanor Friede, [1975]) (206 pages) (Dust jacket art by Al Pisano) {PDF} (18.5 MB)
https://mega.nz/#!NoNghBQI!sCxxreKgT3aEvjcFsQmvLQqbtZS7e7eW08HrQSgxmyE
The Rebel Outlaw: Josey Wales is a 1973 American Western novel written by Forrest Carter that was adapted into the film The Outlaw Josey Wales directed by and starring Clint Eastwood.
It was originally published in hardcover in 1973 by a small publishing firm in Gantt, Alabama, Whipporwill Publishers. It is believed that only 75 copies of the 1973 First Edition were ever published (one of which was sent by the author to Clint Eastwood unsolicited, which led to the film adaptation) so it is quite a rare book today. Only one copy is currently for sale on the major used book sites, priced at $7,500. The novel was republished in hardcover in 1975 by Delacorte Press / Eleanor Friede under the title Gone To Texas.
I added an image of the First Edition dust jacket to the end of the file so that you could see what it looked like.
Plot Synopsis:
Josey Wales, a Missouri farmer, seeks vengeance when his family is murdered by a gang of Union militants during the American Civil War.
From the dust jacket:
"Josey Wales lost his young wife and child to...Civil War destruction and, like Jesse James and other young farmers, joined the guerrilla soldiers of Missouri�men with no cause but survival and no purpose but revenge.
A hunted fugitive with a price on his head and bands of cavalry and bounty hunters on his trail, Josey and a Cherokee friend, Lone Watie, set out for the West through the dangerous Comanchero territory. Hiding by day, traveling by night, they are joined by an Indian woman named Little Moonlight, and rescue an old woman and her granddaughter from their besieged wagon. Now there are five of them, bonded for survival, moving southward to Texas, winning through a brash and honest violence the surprise chance for a new way of life."
"Forrest Carter's novel is a moving, exciting story about real characters who come alive on every page. His plot has the ring of authenticity. The sequence with Ten Bears is an unforgettable and suspenseful reading experience. In fact, I liked the entire book so much that I have bought it for my next starring vehicle."�Clint Eastwood.
"Gone To Texas is hard to put down as a novel of the West. As true American history, which it is, there's no putting it down at all."�
Richard Bach, author of Jonathan Livingston Seagull.
"Authentic in detail, exciting, stark, brutal, with uncompromising reality..."�Historical Book Society.
2. The Vengeance Trail Of Josey Wales. By Forrest Carter ([New York]: Delacorte Press / Eleanor Friede, [1976]) (202 pages) (Dust jacket art by Al Pisano) {PDF} (20.6 MB)
https://mega.nz/#!dwllnAKb!yn_SS9xi1dZqEpVro5xYAEzylFhLL13h4RGm_-XNR8Y
About The Movie:
The Outlaw Josey Wales is a 1976 American revisionist Western DeLuxe Color and Panavision film set during and after the American Civil War. It was directed by and starred Clint Eastwood (as the eponymous Josey Wales), with Chief Dan George, Sondra Locke, Sam Bottoms, and Geraldine Keams. The film tells the story of Josey Wales, a Missouri farmer whose family is murdered by Union militants during the Civil War. Driven to revenge, Wales joins a Confederate guerrilla band and fights in the Civil War. After the war, all the fighters in Wales' group except for Wales surrender to Union officers, but they end up being massacred. Wales becomes an outlaw and is pursued by bounty hunters and Union soldiers.
The film was adapted by Sonia Chernus and Philip Kaufman from author Forrest Carter's 1973 novel The Rebel Outlaw: Josey Wales (republished, as shown in the movie's opening credits, as Gone To Texas). Forrest Carter was an alias assumed by Asa Carter: a former Ku Klux Klan leader, a speechwriter for George Wallace, and later an opponent of Wallace for Governor of Alabama on a white supremacist platform. In 1996, the film was selected for preservation in the National Film Registry of the Library of Congress. The film was a commercial success, earning $31.8 M against a $3.7 M budget.
Josey Wales was portrayed by Michael Parks in the 1986 sequel to the film The Return Of Josey Wales.
About The Author:
Asa Earl Carter (September 4, 1925 � June 7, 1979) was a Ku Klux Klan leader, segregationist speech writer, and later western novelist. He co-wrote George Wallace's well-known pro-segregation line, "Segregation now, segregation tomorrow, segregation forever", and ran for governor of Alabama on a segregationist ticket. In addition, under the alias of supposedly Cherokee writer Forrest Carter, he wrote The Rebel Outlaw: Josey Wales (1972), a novel that led to a 1976 National Film Registry film and The Education Of Little Tree (1976), a best-selling, award-winning book which was marketed as a memoir but which turned out to be fiction.
In 1976, following the success of his Western novel The Rebel Outlaw: Josey Wales (1972) and its 1976 film adaptation, The New York Times revealed Forrest Carter was actually southerner Asa Earl Carter. His background became national news again in 1991 after his purported memoir, The Education Of Little Tree (1976), was re-issued in paperback, topped the Times paperback best-seller lists (both non-fiction and fiction), and won the American Booksellers Book of the Year (ABBY) award.
Prior to his literary career as "Forrest", Carter was politically active for years in Alabama as an opponent of the civil rights movement: he worked as a speechwriter for segregationist Governor George Wallace of Alabama, founded the North Alabama Citizens Council (NACC) � an independent offshoot of the White Citizens' Council movement � and an independent Ku Klux Klan group, and started a pro-segregation monthly, titled The Southerner.
Asa Carter was born in Oxford, Alabama in 1925, the second eldest of four children. Despite later claims (as author "Forrest" Carter) that he was orphaned, he was raised by his parents Ralph and Hermione Carter in nearby Oxford, Alabama. Both parents lived into Carter's adulthood.
Carter served in the United States Navy during World War II and for a year studied journalism at the University of Colorado on the G.I. Bill. After the war, he married India Thelma Walker. The couple settled in Birmingham, Alabama and had four children.
Carter worked for several area radio stations before ending up at station WILD in Birmingham, where he worked from 1953 to 1955. Carter's broadcasts from WILD, sponsored by the American State's Rights Association, were syndicated to more than 20 radio stations before the show was cancelled. Carter was fired following community outrage about his broadcasts and a boycott of WILD. Carter broke with the leadership of the Alabama Citizen's Council movement over the incident. He refused to tone down his anti-Semitic rhetoric, while the Citizen's Council preferred to focus more narrowly on preserving racial segregation of Blacks.
Carter started a renegade group called the North Alabama Citizen's Council. In addition to his careers in broadcasting and politics, Carter during these years ran a filling station. By March 1956, he was making national news as a spokesman for segregation. Carter was quoted in a UP newswire story, saying that the NAACP had "infiltrated" Southern white teenagers with "immoral" rock and roll records. Carter called for jukebox owners to purge all records by black performers from jukeboxes.
Carter made the national news again on September 1 and 2 of the same year, after he gave an inflammatory anti-integration speech in Clinton, Tennessee. He addressed Clinton's high school enrollment of 12 black students, and after his speech an aroused mob of 200 white men stopped black drivers passing through, "ripping out hood ornaments and smashing windows". They were heading for the house of the mayor before being turned back by the local sheriff. Carter appeared in Clinton alongside segregationist John Kasper, who was charged later that same month with sedition and inciting a riot for his activities that day. Later that year, Carter ran for Police Commissioner against former office holder Bull Connor, who won the election. Connor later became nationally famous for his heavy-handed approach to law enforcement during the civil rights struggles in Birmingham.
In 1957, Carter and his brother James were jailed for fighting against Birmingham police officers. The police were trying to apprehend another of the six in their group, who was wanted for a suspected Ku Klux Klan (KKK) shooting. Also during the mid-1950s, Carter founded a paramilitary KKK splinter group, called the "Original Ku Klux Klan of the Confederacy". Carter started a monthly publication entitled The Southerner, devoted to purportedly scientific theories of white racial superiority, as well as to anti-communist rhetoric.
Members of Carter's new KKK group attacked singer Nat King Cole at an April 1956 Birmingham concert. After a more violent event, four members of Carter's Klan group were convicted of a September 1957 abduction and attack on a black handyman named Judge Edward Aaron. They castrated Aaron, poured turpentine on his wounds, and left him abandoned in the trunk of a car near Springdale, Alabama. Police found Aaron, near death from blood loss. (Carter was not with the men who carried out this attack). In 1963, a parole board, appointed by Carter's then-employer Alabama governor George Wallace, commuted the sentences of the four men convicted of attacking Aaron.
In 1958, Carter quit the Klan group he had founded after shooting two members in a dispute over finances. Birmingham police filed attempted murder charges against Carter, but the charges were subsequently dropped. Carter also ran a campaign for Lieutenant Governor the same year that saw him finish fifth in a field of five.
During the 1960s, Carter was a speechwriter for Wallace. He was one of two men credited with Wallace's famous slogan, "Segregation now, segregation tomorrow, segregation forever", part of Wallace's 1963 inaugural speech. Carter continued to work for Wallace, and after Wallace's wife Lurleen was elected Governor of Alabama in 1966, Carter worked for her. Wallace never acknowledged the role Carter played in his political career, however:
Till the day he died, George Wallace denied that he ever knew Asa Carter. He may have been telling the truth. 'Ace', as he was called by the staff, was paid off indirectly by Wallace cronies, and the only record that he ever wrote for Wallace was the word of former Wallace campaign officials such as finance manager Seymore Trammell.
When Wallace decided to enter national politics with a 1968 presidential run, he did not invite Carter on board for the campaign, as he sought to tone down his reputation as a segregationist firebrand. During the late 1960s, Carter grew disillusioned by what he saw as Wallace's liberal turn on race.
Carter ran against Wallace for governor of Alabama in 1970 on a white supremacist platform. Carter finished last in a field of five candidates, winning only 1.51% of the vote in an election narrowly won by Wallace over the more moderate Governor Albert Brewer. At Wallace's 1971 inauguration, Carter and some of his supporters demonstrated against him, carrying signs reading "Wallace is a bigot" and "Free our white children". The demonstration was the last notable public appearance by "Asa Carter".
After losing the election, Carter relocated to Abilene, Texas, where he started over. He began work on his first novel, spending days researching in Sweetwater's public library. He distanced himself from his past, began to call his sons "nephews", and renamed himself Forrest Carter, after Nathan Bedford Forrest, the first Grand Wizard of the Ku Klux Klan and a general of the Confederate army who fought in the Civil War.
Carter moved to St. George's Island, Florida in the 1970s where he completed a sequel to his first novel, as well as two books on American Indian themes. Carter separated from his wife, who remained in Florida. In the late 1970s, he again settled in Abilene, Texas.
Carter's best-known fictional works are The Rebel Outlaw: Josey Wales (1973, republished in 1975 as Gone To Texas) and The Education Of Little Tree (1976), originally published as a memoir. The latter sold modestly � as fiction � during Carter's life; it became a sleeper hit in the late 1980s and throughout the 1990s.
Clint Eastwood directed and starred in a film adaptation of Josey Wales, retitled The Outlaw Josey Wales (1976), after Carter sent the book to his offices as an unsolicited submission, and Eastwood's partner read and put his support behind it. At this time, neither man knew of Carter's past as a Klansman and rabid segregationist. In 1997, after the success of the paperback edition of The Education Of Little Tree, a film adaptation of the second book was produced. Originally intended as a made-for-TV movie, it was given a theatrical release.
In 1976, Carter published the sequel to The Rebel Outlaw: Josey Wales, entitled The Vengeance Trail Of Josey Wales which Clint Eastwood planned to film as a sequel to The Outlaw Josey Wales, but the project was eventually cancelled.
In 1978, Carter published Watch For Me On The Mountain, a fictionalized biography of Geronimo. It was reprinted in 1980 in an edition titled, Cry Geronimo!
Carter spent the last part of his life trying to conceal his background as a Klansman and segregationist, claiming categorically in a 1976 The New York Times article that he, Forrest, was not Asa Carter. The article details how as Forrest, Carter was interviewed by Barbara Walters on the Today show in 1974. He was promoting The Rebel Outlaw: Josey Wales, which had begun to attract readers beyond the confines of the Western genre. Carter, who had run for a campaign for governor of Alabama (as Asa Carter) just four years earlier in a campaign which included television advertising, was identified from this Today show appearance by several Alabama politicians, reporters and law enforcement officials. The Times also reported that the address Carter used in the copyright application for The Rebel Outlaw was identical to the one that he used in 1970 while running for governor. �Beyond denying that he is Asa Carter�, the Times noted, �the author has declined to be interviewed on the subject.�
When the story of Carter�s deception hit the news, it was inevitable that Clint Eastwood would be drawn into the controversy. From Clint Eastwood: A Biography by Richard Schickel, published by Alfred A. Knopf New York 1996:
"Clint was on location, making Unforgiven, when this article appeared, and he sent a polite letter to the Times, pointing out that he had met the man he knew as Forrest Carter only once. He also observed, �If Forrest Carter was a racist and a hatemonger who later converted to being a sensitive, understanding human being, that would be most admirable.�"
But maybe that wasn�t the case either � or possibly Eastwood was being diplomatic. Schickel also relates that Clint�s producer on Josey Wales, Bob Daley saw another side to Carter:
"He saw a decent side to the man, reflected in warm, supportive letters he received from Carter on the death of his father. He also saw vicious anti-Semitism, directed at William Morris agents, when the arguments about money started up. He finally came to the conclusion that Carter was basically an opportunist, willfully burying � but not necessarily abandoning � his racism so that he could rejoin decent society."
Carter was working on The Wanderings Of Little Tree, a sequel to The Education Of Little Tree, as well as a screenplay version of the book, when he died in Abilene on June 7, 1979. The cause of death, reported as heart failure, was alleged to have resulted from a fistfight with his son. Carter's body was returned to Alabama for burial near Anniston.
No one will ever know what Carter�s thoughts and attitudes really were, whether he was, as Clint Eastwood thought, "a hatemonger who later converted to being a sensitive, understanding human being." But the evidence, such as his public denial that he was Asa Earl Carter, would support Daley�s claim that he was an opportunist, whose attitudes could and would be put to the side where financial gain was concerned.
But having said that, as the popularity of the books would attest, Carter was a good writer who wrote stories that were not racist, and depicted Indians in a light that had never really been seen in main stream fiction at that time.
Carter is certainly an enigma. And despite what his actual beliefs may have been, there is no denying that Gone To Texas is a great western story, and a thoroughly entertaining read.
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Here's an Internet Archive/Open Library find (not on Carlo's List).
It's a complete cover-to-cover Internet Archive/Open Library scan in .pdf format of the 1979 Reed Books oversized trade paperback First Edition of Fantastic Planets by Jean-Claude Suares and Richard Siegel, with text by David Owen.
Thanks should go to the original scanner at the Internet Archive/Open Library.
I've uploaded the file to Mega.
It's a .pdf file contained in a .zip file (which is a searchable .pdf with OCR'd text). After downloading the .zip file, simply unzip it and extract the .pdf file.
Fantastic Planets. By Jean-Claude Suares And Richard Siegel. Text By David Owen ([Danbury, NH: Reed Books (a division of Addison House, Inc.), 1979]) (160 pages) {PDF} (24.4 MB)
https://mega.nz/#!Atl2QCIB!_a08_AzxTldETPcPyXwHtqdW1pv7WZmx33Ob0UbvwEc
Fantastic Planets is a pictorial book on science fiction in movies and tv, in comics, and in literature. It was originally published simultaneously in both hardcover and large format trade paperback in 1979 by Reed Books. It's profusely illustrated with 54 color photographs and 138 black & white photographs, including a few reproductions of pulp covers and illustrations.
From the dust jacket:
"They've landed! They've landed!" With the initial panic over, the burning question is, "Where did They come from?" The authors of Alien Creatures now take you on an incredible visual journey to the planets and galaxies that spawned them.
As the mysteries of our own earth become yesterday's news, Man seeks other homes where human and other life exist. His unquenchable thirst for the Unknown has compelled him to turn his eyes to the heavens, and his imagination toward the enigma of the Universe.
These flights of fancy take place on huge and powerful spaceships. Melodramatic landings in the Moon's eye, dangerous visits to Mars with Flash Gordon, the Moon's enigmatic monolith, Barbarella's city, the Forbidden Planet, skies full of suns and moons that shine upon ominous deserted places, all reached at speeds where time and space stand still. But where does speculation end and reality begin?
As we near the 21st Century, science at last seems to be catching up with the fabulous creations of SF literature and cinema, but the NASA spacecraft that have traveled to the Moon, Venus, Mars, and beyond seem but dull imitations of the marvelous visions of Jules Verne and H. G. Wells, brought brilliantly to life by George Melies, Stanley Kubrick, Steven Spielberg, and George Lucas.
Will we really find Cylons and other dastardly intergalactic armies with whom to do battle in the eternal struggle of good vs. evil? Movies, television,and comics shout a resounding, "Yes!"
Find out for yourselves! Travel at the speed of light with Richard Siegel, J-C Suares, and David Owen as they reveal the Moon, Mars, the rest of the Solar System, and the Great Beyond, on a journey you won't soon forget."
About Jean-Claude Suares:
Jean-Claude Suares (March 30, 1942 � July 30, 2013) was an artist, illustrator, editor, and creative consultant to many publications, and the first Op-Ed page art director at The New York Times.
Suares was born on March 30, 1942, in Alexandria, Egypt, to a Sephardic father. He and his family moved from Egypt to Italy when he was a teenager. Later, he moved to New York, where he briefly attended Pratt Institute. In the 1960s, he joined the U.S. Army paratroopers and was sent to Vietnam, where he worked on staff for Stars and Stripes. He also spoke several languages. In 1973, Suares arranged an exhibition of Op-Ed art at the Mus�e des Arts D�coratifs in Paris. For over 30 years his comic drawings appeared in The New York Times, on the covers of The New Yorker and The Atlantic Monthly, and in other periodicals and books. He wrote, edited or designed scores of illustrated books. He was also involved in book publishing. He worked with Jacqueline Kennedy Onassis at Doubleday. He also designed Michael Jackson�s autobiography, Moonwalk. Suares was in one movie in 1973, It Happened In Hollywood.
A resident of Harrington Park, New Jersey, Suares died on July 30, 2013, at Englewood Hospital and Medical Center in Englewood, New Jersey as a result of a bacterial infection. He was 71.
About Richard Siegel:
Richard Siegel (1955-) is an American illustrator, comics artist, filmmaker, and author. He is the author of the SF novel Alien Plague (1979), under the pseudonym Stephard Noir, in which a medical Disaster is sourced to the Outer Planets. Under his own name, he is best known for an SF satire framed as a photo-documentary, The Extraterrestrial Report: The First Fully Documented Account Exposing The Awful Danger From Beyond (A & W Visual Library, 1978), which spoofs various paranoias, including UFO "sightings". More recently, from 2005 to 2007, Siegel contributed several sf spoofs to the Weekly World News.
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Alfredo Juillet Frascara, 71 years. He was born in Santiago de Chile, May 30 1944, is a Chilean painter, author and sculpturer. He is the author of the SF novel "Jaukmoon", "Mars", "Knapp", and many others. He currently lives in the field, still working in his projects, and the last novel is "Kenate", where the action happens in the Second Brana. Some of his works appears in Scribd.
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Here's an Internet Archive/Open Library find (not on Carlo's List).
It's a complete cover-to-cover Internet Archive/Open Library scan in .pdf format of the 1997 Tor trade paperback reprint of The Williamson Effect, edited by Roger Zelazny.
Thanks should go to the original scanner at the Internet Archive/Open Library.
I've uploaded the file to Mega.
It's a .pdf file contained in a .zip file (which is a searchable .pdf with OCR'd text). After downloading the .zip file, simply unzip it and extract the .pdf file.
The Williamson Effect. [Original Stories In Tribute To Grand Master Jack Williamson]. Edited By Roger Zelazny. [Introduction By David Brin] (New York: Tor (A Tom Doherty Associates Book), [1997]) (349 pages) (Cover art by Nicholas Jainschigg) {PDF} (35.9 MB)
https://mega.nz/#!p4cGBTRJ!ZGvMfAc41uaOfwC1nqAPFY9ekiJMDIwM-ftEpydVMnM
The Williamson Effect is an original anthology of fifteen SF short stories and one poem, about or inspired by science fiction Grand Master Jack Williamson (1908-2006). It was originally published in hardcover in 1996 by Tor. This 1997 Tor edition marked its first appearance in paperback.
SF author Roger Zelazny (1937-1995), winner of six Hugo and three Nebula awards and the editor of this collection, died of cancer on June 14, 1995. Before his death, he had completed the majority of the editorial work for The Williamson Effect. In keeping with the tradition Zelazny had established as editor for other collections, Jim Frenkel provided short introductions for each story. Jane Lindskold assisted with tying up loose ends and coordinating the collection for publication.
From the back cover:
"A TRIBUTE TO JACK WILLIAMSON - THE DEAN OF MODERN SCIENCE FICTION.
WITH AN INTRODUCTION BY DAVID BRIN,THE WILLIAMSON EFFECT INCLUDES ALL ORIGINAL SHORT STORIES, WITH AFTERWORDS, COMMISSIONED ESPECIALLY FOR THIS BOOK, FEATURING SUCH ENTHRALLING TALES AS:
"The Bad Machines" by Fred Sabertiagen: an unlucky crew is caught between the Humanoids and the Berserkers...
"The Mayor Of Mare Tranq" by Frederik Pohl: see Jack Williamson himself become a real American hero...
"Nonstop To Portales" by Connie Willis: the story of a strange bus tour that changes one man's life...
"Inside Passage" by Poul Anderson: a chilling sequel to Williamson's seminal fantasy, Darker Than You Think...
"Thinkertoy" by John Brunner: a gripping homage to Williamson's classic work of robots gone wild, The Humanoids...
"On looking back over his long and influential career, I have no hesitation in placing Jack Williamson on a level with the two other American giants, Isaac Asimov and Robert Heinlein."�Arthur C. Clarke.
"Any fan of Williamson, or of science fiction for that matter, will thoroughly enjoy The Williamson Effect."�The Post and Courier, Charleston, South Carolina.
The End..-.-
posted by Casa Juillet at 4:55 PM
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