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*** START OF THIS PROJECT GUTENBERG EBOOK FUTURIA FANTASIA, WINTER 1940 *** Produced by Greg Weeks, Mary Meehan and the Online Distributed Proofreading Team at
FUTURIA FANTASIA Winter 1940 By Ray Bradbury

LAST ISSUE: We made a mistake that we will try not to repeat again very soon. We printed the editorial page three weeks ahead of the remainder of Futuria Fantasia, thereby creating no end of humorous confusion. We babbled glibly, in the editorial, about two or three yarns that we later decided were unprintable, and, at the same time, threw in some horrible mistakes in grammar that must have left Shakespeare doing nip-ups in his shroud.

THIS ISSUE; J. Harvey Haggard bows into what we hope will be a regular spotlight in Futuria Fantasia.... Emil Petaja, whose verses have appeared in Weird Tales, makes his self known with a neat little weird yarn and a poem.... Again H.V.B. comes to the fore with a sequel to THE GALAPURRED FORSENDYKE—THE VOICE OF SCARILIOP ... and, in case you have wondered about or will wonder about these two unusual yarns, we are printing them for no other reason than that we like their description, they tickle our mental palate, they are word pictures of surrealistic dreams ... and anyone who guesses who H.V.B is will get the next edition of Futuria Fantasia gratis.... Henry Hasse blows in and blows up with a rebuttle against Foo E. Onya and does himself right proud by science-fiction.... Ross Rocklynne, prominent Eastern schlameel, offers us a pitiful excuse for an article, HOW TO GET ABOUT.... Ron Reynolds, we have no doubt, will manage to get into the magazine somehow with his horrendous FIGHT OF THE GOOD SHIP CLARISSA, but if we can do anything at all we'll print it on invisible paper.... Anthony Corvais, if you start guessing who did it, wrote the short story in the rear by the title of THE SYMPHONIC ABDUCTION.... Hannes Bok, who has another cover on Weird Tales for March, has drawn our cover again and many inside illustrations, including a large advertisement for Hell, under which you will find a descriptive poem written by Guy Amory. Unlike Finlay, who draws pictures from poems, we procure pictures from Bok and write poems about them. In fact, I blushingly admit, I even wrote a ten thousand word novelette around that little creature on the cover of the first Futuria Fantasia ... which, no doubt, will have its share of rejections very soon, in which case I will foist on my poor unsuspecting public, both of them, this story now titled LORELEI. I would have included it in this issue, but Russell J. Hodgkins threatened me so venemously that I gave in told him to put down his gun. It might be a good idea, by the way, if more of you readers wrote us letters criticizing FuFa. So far we have heard nothing from Madle, Baltadonis, E.E. Smith, Kuslan, Marconette, Taurasi, Dikty, Wilson, or Speer. How in hell, we ask you guys, can we improve if you won't write in and tell us if and why we stink? Co-operation, please....

NEXT ISSUE: Robert A Heinlein, of the LA SFL, whose noval is now current in Astounding, will begin the first of a series of short stories written on order for Futuria Fantasia. Ross Rocklynne, also, takes an encore with a thot-provoking, accent on provoking, story or article. Henry Hasse will be here in company with Ross Hodgkins. Hodgkins possibly writing on Technocracy. And, if schedules go through, an article to end all articles, by Charlie Hornig, fresh and sassay from New Yawk. Other possible bets are Fred Shroyer, Guy Amory, Anthony Corvais, Emil Petaja, Willy Ley, Doug Rogers, August Derleth, Ackerman and T. Bruce Yerke. Send your dime for the Spring Edition now—or a quarter for the Spring, Summer and Fall issues. Introduce FuFa to your friends and help us grow.


Four pillars, arising out of the stone like strange growing things of demoniac shape—these Redforth saw and comprehended, knowing full well that Tarath had always abounded in monstrosities. "But what," he asked himself, "will knowing of such as this, be of use to me, as I search for Ghiltharmie?" For he had at last come to realise, to admit even to himself, that he was a lost thing. The Yulphog had taken his soul. They had exiled him to this lost land of dread. But they'd hinted of escape, if he could find it. "Si Yamlon," he had told him, pointing to a writhing belt of suns, lifting and lowering at the horizon like the yellow crest of a flaming wave. And he had nodded his head. They had vanished, disintegrating, it seemed. He didn't then know that they were related to Topper's friends and the jeep in one thing: that their Typonisif and Tregoifer was applicable to the atmosphere.

The four pillars were bending from their own weight. Strange colors—like an idiot's conception of a spectrum, spectrally rippled like irid waves across the columns. Like music in color. Assailed by their complex harmonies, Redforth could only stand speechless, hands thrust defensively forward. IT WAS THEN THAT HE SAW EIRY.

The pillars split. From each of then drifted a whiff of steam. They united into a wavering cloud which shimmered an instant in mid-air, then settled to the ground. And as it touched the metallic grass blades which stretched on and on like the upraised swords of a midget army, the vapor-cloud condensed into a woman's body. EIRY. Queen of Scariliop!

He recognized her at once, tho he had only read of her. She was not human. Her body was like a snake's, and she had bat wings. From a cluster of writhing worm-tentacles leered her face, like a mask in the heart of a seething flower. It was oval, and the scarlet mouth was like a velvet cushion—disproportionate—waiting for some priceless burden. Her nose was negligible, but her lone eye was vast and blue; like a doorway opening upon a sky too blue to belong to our world. Like blue incarnate: and blue is the color of MYSTERY.

She opened her mouth, and her tongue unrolled, uncoiled toward Redforth. Three feet long, the tongue was filamental, like a strand of red cobweb, tipped by a touch of fluff like a dandelion's seed. This member wandered lightly over Redforth's cheek, and for the first time EIRY spoke: "It comes to me that here is the man for whom we have been seeking, Yasgorphitove." Her voice was soft as clouds. Redforth in vain peered to behold her companion. "Now shall we enlighten him as to the ways of escape? In return for a favor, of course."

The air about her, for a fleeting instant, had turned blue. Then she nodded. She leaned forward, to whisper, but suddenly there was a crackling. "The rock!" she cried. "The rock! I must return before it is too late and I too am trapped!" She writhed, became coiling wreathes of smoke, and the smoke flowed back to the rocks, hovered over it. The four pillars quivered and joined into one and then, in a twinkling, had crumbled to powder.

But there was an uncanny blueness in the air about Redforth. And that night he had a dreadful dream.

For he had become—Yrthicaol! And EIRY had been merely—THE BAIT!


THERE! If "Foo E. Onya", in the last issue, could use a pseudonym so can I. I read his article, I'M THROUGH, with varying degrees of interest. If an answer were really necessary, it could be found more appropriately in the two words of my title above, than in any words that might follow. And that brings up my first point in my rebuttal—

Why is it that people, including the lowly science-fiction fan, (to paraphrase Mr. Onya) always feel it necessary to hide behind a pseudonym when they have something to say which they think will displease someone? I've seen this happen so many times! And, coincidently, why SHOULD Mr. Onya take such pains to be unpleasent in print? Why should he feel it necessary to make one final, grand broadcast to the effect that he will no longer read paltry science-fiction? Does he think that any real lover of sci-fic gives a damn whether there is one less reader, especially a reader who crawls behind such a silly pseudonym as "Onya"? I've seen other broadcasts such as Mr. Onya's, and they always puzzled me. It surely can be nothing else but the egotistical urge.

But I'm convinced that Onya isn't half so bitter really against sci-fiction as he tries to pretend. He's not really through. Because anyone really bitter against and through with sci-fic would simply stop reading it, not start deriding it! And I doubt if any person, once a fan, has ever completely broken away from sci-fic, THEY ALWAYS COME BACK.

And right here I'd like to say that a good deal of my doubt as to Onya's sincerity is because I'm fairly certain of the fellow's real identity. The general tone of his article, and several clues he divulged, convince me I'm right. And if I AM right, I can assure you, Brad, and any other readers who nay have been picqued at Onya's tone, that he shouldn't be taken seriously, and the less attention paid to his rantings, the better. I'm sure Onya would feel flattered if he thot someone took his article so seriously as to answer it. Yet here I am answering it, and damned if I know why, except that I think I took some of Mr. Onya's phrasing personally, almost. I don't think he should have gone to the extent of calling names and using words such as "moronic", "arrogant", etc.

Aside from this his piece seemed to me a conglomeration of contradictions, inconsistencies, praises here, derisions there, pats on the back, exaggerations, sneers and scorn, and, oh yes, a book review. Yes, I liked and appreciated and mostly agreed with Onya's comments on BRAVE NEW WORLD. It's a book which I'm sure sure many of the moronic sci-fic fans appreciated as well as Mr, Onya. But here's where Mr. Onya's and my tastes differ slightly, for I also liked PLANET OF THE KNOB HEADS in the Dec. issue of SCIENCE FICTION, whereas Mr. Onya probably wouldn't deign to read it because it's in one of the pulp mags. that he so deplores; thereby Mr. Onya would be missing a really entertaining and meaningful piece of writing, but that's all right, since Mr. Onya's own words said: "There is so much else of importance that has been written—".

You know, somehow I cannot bring myself to be as vitriolic against Mr. Onya as he was against sfn at moments. He tried hard to work up a case against sfn, poor fellow, and became (to me at least) amusing instead of convincing. Do you know what I saw? I saw a person who is temporarily satiated, as he said, with sfn,—but more than that, a person who is merely trying to persuade himself, more than other people, that sfn is as bad as he painted it! Naturally every fan has his likes and dislikes of the various stories, authors and magazines. Some have more dislikes than likes. I think even I do. But it must be admitted that every once in a while, usually unexpectedly, there pops up a story which is a delectable gem and a masterpiece, either of ingenuity or writing or both. Then one is exultant, and one continues reading sfn, even some trite and bad sfn, knowing that regularly he will encounter one of the gems which he wouldn't have missed reading for the world! Meanwhile we have with us Clark Ashton Smith, C. L. Moore, Stanton Coblentz (delightful sometimes, not always), A. Merritt, and an occasional few others, whose work I doubt if even Mr. Onya could glibly pronounce as ordinary pulp. And we did have Lovecraft, Weinbaum, Howard, and others of whom the same thing can be said.

Naturally, too, a lot of criticism can be directed against sfn and sfn readers. A lot of criticism can be directed against everything, and usually is, by certain people who take an unholy delight in it. I myself have sometimes snorted in wrath at the gross egotism and, yes, stupidity and childishness, of certain fans. I would have taken great delight in kicking their blooming teeth down their bloody well bally throats. But did I do this? Did I succumb to this desire? No, I did not. I never got close enough. A more important reason is that I had the patience to realize this type of fan is a minority (not a majority, Mr. Onya, by any means!). But what I did not do was write bitter articles about it.

Here is only one of Mr. Onya's inconsistencies: he makes such statements as "fans are arrogant, blind, critically moronic", etc.—and "editors and

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