'Mimosa Letters' lettercol illo by Sheryl Birkhead
{{ Thanks once again to everyone who sent us a letter or e-mail of comment! We're gratified by the response; receiving your comments really does motivate us to keep publishing. Please be assured, too, that all comments received on the articles in Mimosa (whether or not they see print in the Letters Column) will find their way back to our contributors, which provides additional motivation to them, too.

 The most popular article in Mimosa 23, if readers comments are the judge, was Mike Resnick's second installment of his "Worldcon Memories." We were somewhat surprised, though, that a close second was our opening comments. We'll begin there and also with some comments on Julia Morgan-Scott's amusing cover for M23, "The Pirates of Pendance." }}

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Brad W. Foster Irving, Texas
 Another absolutely amazing wraparound scratchboard cover from Julia, but then, you probably already knew that. {{Yes, we did! }} I liked the theme continuation of having both a Worldcon connection and a musical number combined. And with famous fannish guest stars this time! My only question would be, who is the fair-haired maiden throwing herself to the sharks in response to the bagpipe playing of Richard? (I've heard 'good' bagpipe, I've heard 'bad' bagpipe, and when it's bad, it's just awful!)

{{ Several people asked who the damsel in distress was. The answer (according to Julia): no one in particular. She told us we both were the only 'real' people in that scene. }}

 I thought Joe Mayhew's comments on accepting his 'Best Fan Artist' Hugo were perfect. I was split between hoping either he or Ian Gunn would win, and the way he brought Ian into it was pure class. Made me even prouder to even be a small part of that group of folks that night.

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Gary Deindorfer Trenton, New Jersey
 Mimosa's covers continue to be amazingly brilliant. This one, on Mimosa 23, is a fine take on what was apparently the theme of Bucconeer -- fans as pirates on the body politic of society at large. Which is probably true in a way, though I'm not able to put it into words just how it would be true. Well, it's a lovely, amusing cover from Julia Morgan-Scott.

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Sam Long Springfield, Illinois
 On your Opening Comments {{"On the Road to Bucconeer" }}, I had long thought that the USS Constellation, undergoing restoration in Baltimore, was a frigate of approximately the same vintage as "Old Ironsides," the USS Constitution, now in Boston harbor. So I checked out www.constellation.org and found that the ship was indeed of 1850s vintage and was originally a sloop-of-war, but in a restoration about 40 years ago was configured to resemble its 1797 namesake, which was a frigate. "So I am right, and you are right, and all is right as right can be!" (if I'm quoting correctly from Mikado).

 Anyway, I'm still getting used to the Internet and still marvel at it. A little while ago, curious, I put in a search query on 'propeller beanie' and came up with no fewer than 370 hits. Several were for places that sell them and a large number were for lists of 'emoticons' -- those figures made from ascii characters, as 8-(|:-), a happy fan with a propeller beanie on his head. One hit was for Mimosa 17, specifically Ben Zuhl's article on knee fandom {{"The Canadian, the Myth, and the Chambanacon Bar" }}, which begins with a reference to beanies. I put in a search on my own name and came up with several references to Mimosa there, too. You're ubiquitous.

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Rodney Leighton Tatamagouche, Nova Scotia, Canada
 Another super wraparound cover by Julia Morgan-Scott. I think I liked the one on Mimosa 21 better but that may be due to being more a fan of Western stuff than pirates. Amazing the detail she puts in these. I hope she gets paid for doing this sort of thing; her work is certainly of extremely good quality.

 Mike Resnick's hilarious recollection of various worldcons {{"Worldcon Memories (Part 2)" }} was easily the written highlight of this issue. Excellent writing; excellent illustrations by Charlie Williams, and kudos for Peggy Ranson all in one article. What more could anyone wish for?

Marty Cantor North Hollywood, California
 In her Opening Comments, Nicki wonders about the possibilities of James White's Sector General stories inspiring a television series. As a devoted fan of that series, I would be interested in watching at least one episode if it ever appeared. I am not sanguine, though, about the ability of special effects making the aliens believable. White's aliens are integral to the stories and he has used words to not only make them 'real' but his descriptions of them paint them vividly in the readers' minds. Such a series cannot even begin to work unless at lease someone with clout in the production of the series is well-read with the work -- and loves it.

{{ That's true. There are currently several series that are written and/or produced by people who clearly know and love the genre -- Futurama and some of the 'non-canon' episodes of The X-Files come immediately to mind. The technology is now mature enough to make 'believable' aliens, as we've seen in the new Star Wars movie, but CGI digital effects are probably not affordable outside big-budget movies. Maybe that's where we could expect to find Sector General someday. }}

 Then we come to the topic mentioned by Rich, Mimosa winning the Best Fanzine Hugo five times. As you may remember, I was one of those who worked on getting the Best Semi-Prozine category inserted as a Hugo Award many years ago. At the time this came about I had no problem with Locus winning an award, even winning an award every year (if the voters so desired); my problem was that Locus was no longer a fanzine (in the amateur sense of the original definition) and its continual winning the Best Fanzine Hugo year after year was keeping 'real' fanzines from getting their due. As long as it is the perception amongst the voters that a given fanzine is the 'best', I have no problem if it wins the award many times. In fact, were a perpetual Best Fanzine Hugo Award winner to withdraw from contention, such an action would taint the award because, in many minds, the award would then be going to the second best zine as the best zine was not in contention. Far better is it that the political abomination known as Term Limits not be imported into the Hugo Awards. I do not want anybody telling me that I cannot nominate or vote for the fanzine of my choice (provided that it qualifies).

{{ We provided our position on the topic in last issue's Opening Comments -- we neither encourage nor discourage anyone to vote for Mimosa; we don't campaign for honors, but we don't turn them down, either. We'd rather the focus be on all the memories that are being preserved in Mimosa, not the number of rocketships received.}}

 Mike Resnick wrote about attending his many Worldcons from a viewpoint which was unique. Not that many Guests of Honour of various stripes have not written about their GoHships before, but this is the first time that I can remember a person who has written about attending Worldcons and giving his impressions of them in the progression of starting as a 'lowly' fan, graduating to positions of honour at the con, and not only showing his fannish roots during the whole litany of various Worldcons, but also making what might seem to be a disjointed agglomeration of anecdotes into a seamless whole. On top of that, it was a fascinating article.

 Howard DeVore's "Mystery Guest" article {{"Who Was That Mystery Guest?" }} is just the thing which makes so much of fan history so fascinating to me. Howard's article recounted not just the fact that there was a 'Mystery Guest' at the 1955 Clevention, but also something about how it actually came to pass -- in effect, not just flesh of the history itself, but the bones which helped explain the happenings. Articles like this make an important contribution to our hobby.

 In the Letters Column, Lloyd Penney mentions something that I find very important. After writing about e-zines, he says, "Still, a paperzine is physical, textual, and sent to you because someone wanted you to have it." (Emphasis mine.) This is one reason why the fanzine media is different from all other mediums -- we fanzine editors sent out our zines to you, our readers, by name, because we want you to have our zine. Somewhere down the line our zines may be seen by others not chosen by us (family and friends at your home or being 'remaindered' [as it were] at cons and such). Still, faneds get to choose our audience, by name, and that is not the case for other mediums.

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Ben Yalow Bronx, New York
 A few minor notes about the Resnick article. The 1977 Worldcon, Suncon, actually lost its Orlando hotel a few months after it won the bid at Aussiecon I. Just a few months after the vote, the decision was made to move the convention to Miami Beach, since the original Orlando hotel had gone into bankruptcy and we didn't want to be in a bankrupt hotel. Of course, we didn't expect to have the Fountainbleu financial problems.

 Concerning the Suncon Program Book, the copyright that was missing was the one on the entire book, not one on a specific article. So the copyright notice appears in different places on the page, depending on who stamped it.

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Ed Meskys, Center Harbor, New Hampshire
 Mike Resnick's easy-going reminiscence of his worldcon experiences was pleasant and gave a taste of the various cons without going into great detail. Also, it was a good extension of your own editorial reminiscences.

 While I had been at Newyorkcon in 1956, I was not deep enough into fandom to really understand what was going on. I had the impression of a number of specialized organizations meeting. I do know the Burroughs Bibliophiles did hold a Dumdum, and think the Conan fen held a meeting. The LASFen who were all raving about Tolkien held the formative meeting of their 'Fellowship of the Ring'. I am not sure whether there were any other special fandoms.

 But speaking of worldcons, Howard DeVore's piece on the 'Mystery Guest' at the 1955 Clevention is the kind of important history which is being lost as old fen die or fade away. I am so glad that Howard put it into print.

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John Trimble, Monrovia, California
 Mike Resnick didn't fill in the details about how Harlan Ellison came to take the microphone away from Isaac Asimov in order to give Ike his Best All-Time Series Hugo. Immediately before that Harlan had won a Hugo for his short story, "'Repent, Harlequin!' Said the Ticktockman." In the story, the clockwork, lockstep future society is thrown into chaos (and therefore rescued from its conformity) when the Harlequin character throws jellybeans into the works, causing people to cease their mindless actions in order to grab up their treats. There's more to it than that, of course, but fans, being the irreverent sorts we are, started asking Harlan how anyone in such a society would have any idea of what the blazes a jellybean was, let alone figuring out that they were a candy treat.

 Segue back to the 1966 TriCon, where the taunting of Harlan about the jellybeans continued. At the Hugo Awards banquet, Ike was doing his usual superb job of toastmastering, with many puns flying. Just before the Best All-Time Series Hugo, Asimov had announced the Short Story Hugo for Harlan's story, which Ike titled "'Repent, Harlequin!' Said the Jellybeans!" That got a hearty laugh from the attendees, but Harlan stomped up to the microphone, told Ike he was way off-base and to sit down; he, Harlan, would take care of the rest of the awards. We were close enough to the head table to see Asimov's hurt and puzzled expression; he couldn't understand how Harlan could have taken his poking fun as an insult. He looked at the con committee members but they just shrugged and indicated that they were powerless in the face of Harlan the Terrible, so Ike sat down, looking crushed. And so when Harlan immediately announced that Asimov's Foundation series had won for Best All-Time Series, Ike whispered that he didn't think it was funny for Harlan to be so cruel. Harlan had to tell him he wasn't kidding, and that Isaac had really won!

 It was all a put-up job, of course, and one of those wonderful moments in fannish history that I'll always treasure.

 Anyway, I'm very sorry to hear of Walt Willis' stroke. I'll always remember Walt & Madeleine visiting in L.A. after Chicon III in 1962. We were house-sitting for a cousin that year, and had a swimming pool. The house was on a street named Parapet, so fans called it the Parapet Plunge. One Saturday, during their West Coast sojourn, the Willises were brought over to our place for a pool party. We'd just returned from the Worldcon ourselves, and hadn't turned he pool heater on until that morning. Most of the L.A. Fans who tested the water decided to wait until it'd had a chance to warm up before trusting their tender bodies to the pool, but Madeleine changed into a cute yellow bikini-type suit and plunged in. When we asked how she could stand it, Walt merely observed that she swam in the Irish Sea in May!

 Walt didn't drink much (if anything) in the way of alcohol, and apparently wasn't much for soft drinks, either, so he was holding a glass of milk, when Ron Ellik grabbed a plate of cookies to hand over to Walt and managed to dump them all over him. Walt smiled and remarked that this was wonderful hospitality; milk and cookies! Later on, Ron was waxing rhapsodic over California wines, and while passing a glass of white over to Walt, managed to slosh some over the edge onto Willis' arm, prompting Walt to observe that he'd been "chablis treated." What a delightful man!

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Steve Jeffery, Kidlington, Oxford, United Kingdom
 I enjoyed this issue's focus on conventions and convention stories, past and present -- from your experiences of Baltimore (and yes, I can believe I like Buffy -- it's cute, sassy, silly and sends itself up with glee while actually managing to have some fun plots -- rather like The X-Files when it started, before it wandered off track into a Mulder/Scully soap opera), Mike Resnick's Worldcon run-downs, and especially Ron Bennett's "Kingsley Capers." I think the alarming vision of a hotel manager in a hairnet and quilted dressing gown (which calls up all sorts of memories of 1970s UK TV sitcoms like Man About the House and George and Mildred ), and so wonderfully caught by Joe Mayhew, will stick with me for some while.

 Wonderful cover, by the way. Your wraparound covers are becoming very distinctive.

{{ Thanks! We enjoy being surprised by what our cover artists create for us. }}

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Mike Resnick, Cincinnati, Ohio
 There were some comments about my first "Worldcon Memories" column in your last lettercol. I wouldn't think the gist of future comments will vary all that much, so I'd like to cut `em off at the pass by answering them right now.

 Kevin Standlee regrets that I "didn't cover the entire story." Sorry, but I'm not in the business of covering the entire story. These are my Worldcon memories (clearly labeled as such). They are based on my experiences and my impressions, and I would expect them to differ, in whole or in part, from those of every other attendee of every Worldcon I discuss; if they didn't, if everyone had identical experiences, there'd be no need to ever write them up.

 Also, I object to being misquoted. I said CFG blocked the rooms and rented the suite at ConFrancisco's Marriott. Tom Becker's letter makes it seem like it was entirely and exclusively my idea: "...the clever stunt Resnick pulled with the Marriott..." Nope. Read the article. It was CFG's clever stunt. Resnick is just one of its many members. In point of fact, it was Scott and Jane Dennis who blocked the rooms and rented the suite. I've done enough dumb things in my life that I don't appreciate being blamed for something that was neither mine nor dumb.

 So that's it, for that and all future columns. One, remember that they are subjective; and two, read what I wrote, not what you think or wish I'd written.

Harry Warner, Jr., Hagerstown, Maryland
 Your and Nicki's notes on the worldcon are appreiated. The event still hasn't received as much fanzine space as most recent worldcons, unless a vast liberal conspiracy has prevented me from receiving some long conreports in other fanzines. Mike Resnick's continuation of this memories of earlier worldcons continued to be very enjoyable. I don't doubt that he has put into print for the first time some anecdotes about those events.

 Cato Lindberg {{in "When Fandom Came to Norway" }} is very helpful in filling in gaps that had previously existed in English language fandom about Norway's fans and their activities. For some reason they haven't been chronicled with nearly as much thorughness as the Swedish fandom's past.

 Bob Madle's essay on John Baltadonis {{"My Pal Johnnie" }} fills a gaping blank in existing fanzine material about this important early fan. Curiously, I can't remember corresponding with John and I'm not even sure I traded fanzines with him, even though my first couple of years in fanzine fandom coincided with his final period of publishing activity. Most of this information is new to me. It's a shame that no worldcon ever thought about making him the fan guest of honor during his long life. However, we still need similar descriptive articles about dozens of other important fans of the 1930s and 1940s who are almost never mentioned today while other fans who were no better are constantly bobbing up in nostalgia pieces. Don Wilson, Andy Anderson, Bill Watson, Larry Shaw, Dick Wilson, and Bill Evans, for instance, are just a few of the dozens of neglected fans of this period.

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Dale Speirs, Calgary, Alberta, Canada
 Jeanne Mealy's comparison of fandom to the State Fair {{"Fans and Fairs" }} is like the one I make comparing fandom to the Calgary Stampede, the world's largest rodeo. More than 1.1 million people, mostly accountants, oil company executives, and shopgirls, dress up each summer and pretend they are cowfolk. The Stampede is held each July, but in the middle of July, Calgary SF fans have their annual gencon, ConVersion. Usually ConVersion is held the weekend after Stampede is over, since every hotel in the city is booked solid for Stampede, but a few years ago, due to a quirk in the calendar, ConVersion was on the final weekend of the Stampede. I quite enjoyed people-watching from the hotel lobby as Klingons and cowboys stared at each other in the hallways. To make things even livelier, the hotel also had NATO troops from Britain and Germany (in town for maneuvers at CFB Calgary), and they were open-mouthed in amazement at both the Klingons and the cowboys.

 Also, the Baltadonis article was of interest to me for its account of printing fanzines via hectography. I will be using it as a citation for my history on copying methods, portions of which are occasionally run in the fanzine Opuntia. Hectography has an amazing hidden history. I have determined that it originated from thin sheets of animal gelatine used as tracing paper in the early 1800s. Sometimes in the 1860s, some unsung inventor in Germany or Austria discovered the method of pouring slabs of gelatine for fresh plates each time. It was immediately taken up by revolutionaries, since the secret police could arrest you for possession of a printing press but the average policeman would think nothing of a cake pan, powdered Jell-O, and food colouring. Hectography is best spelt with a 'c'; the 'k' spelling was a trademark of the Heyer Corporation.

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Martin Morse Wooster, Silver Spring, Maryland
 Like Jeanne Mealy, I have a passion for county fairs. I've even managed to combine my love for fairs with the Worldcon. In 1993, for example, I spent several enjoyable hours at the San Francisco County Fair, an event I thought was extremely fannish, since it seemed to be organized along the lines of "What if a group of fans were given a lot of money and told to put on a county fair?" The fair, for example, had animals -- but they were all made out of wood!

 I had a more enjoyable time at Nolacon than Mike Resnick did, and I also enjoyed myself at ConFrancisco, once I got past registration. The reason is that both cities are weirder and more fannish than fans are, and I spent most of my time exploring. In contrast, at Bucconeer, held in a city I know well (Baltimore), I spent nearly all of my time, save for three hours at the Walters Art Gallery, at the con or with fans. I'm not sure a "Hold Worldcons in dull cities!" cry would sway those Cancun voters, but it's one key to an enjoyable Worldcon for me.

 In your opening comments, concerning the need for sensible science fiction on television, I may be one of the few fans other than Nicki Lynch to see Mercy Point. (But then I saw three episodes of The Burning Zone, quite possibly the worst sf tv series ever made.) What struck me about Mercy Point was that the directors decided to put E.R. in space; the only thing sfnal about it was that some of the characters were aliens. It was a very mundane series. In contrast, Buffy the Vampire Slayer has the horror and fantasy elements blended in with the plot. It's the 'teen' elements of the show -- the awful principal, struggling with the chemistry exam -- that seem in many ways extraneous to the underlying horror. Besides, how can fans not like a show where one character says, "I'm 1120 years old and I can't buy a drink!" and where a villain (the major) craves immortality and has a Day-Timer?

{{ Another series you should check out is Charmed (also on the WB Network), which also has horror and fantasy elements. It's not as dark as Buffy, and also features some humor (as well as good writing). }}

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Ahrvid Engholm, Stockholm, Sweden
 Cato Lindberg's story on his early days was fascinating, and especially interesting for me since Norwegian fandom is neighbour to Swedish. I must say it is quite impressive to travel around the world at young age, working on a boat, to visit fellow fans in foreign countries and buy pulps! There was a lot of contacts between Swedish and Norwegian fandom at the time. Swedish fandom was much bigger, but I think the few Norwegian fans at the time found it comforting to know that they weren't alone.

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Patrick McGuire, Columbia, Maryland
 I read with interest your Opening Comments about Bucconeer. Columbia is even closer to Baltimore than Gaithersburg, but like you, and for similar reasons, I decided to take a hotel room at the worldcon. Considering the hours I was keeping through the con, I think I acted rightly. It really felt strange, however, to leave the hotel garage on Sunday evening and be home half an hour later!

 Modern worldcons are such multi-track, multi-group affairs that often 'my' convention has very little overlap with those of other fen. For that reason, con reports may be more important now than ever -- at least they provide some indication of what was going on elsewhere. Some scheduling conflict made me miss attending the Buffy panel, which I regretted, and I was glad to see Nicki's brief discussion of what went on there. I recently read that the demographic appeal keeping the show on the air is to women between 18 and 28. It does, however, also seem to have a following among older fannish males. Perhaps this is because Buffy and companions are depictions as an out-group in high school, but one doing some important and worthwhile things than the in-group does. This is how a lot of us soon-to-be-fen thought of ourselves back in our own high school years.

{{ Buffy seems not only to appeal to femfannes, but even to non-fans. Several people where Nicki works also like Buffy (and also The X-Files and Highlander), but don't have any interest in media or other kinds of fandom. }}

 I'm also glad to see Nicki mention Mercy Point, because I was beginning to think that I was the only person in non-media fandom who had even seen the thing. The episodes that made it onto the air were never, in my opinion, what you might call good, but the show still looked to me like it might have been artistically salvageable.

 It's astonishing how much time literary fen spend discussing movies and TV shows. My theory is that now that the magazines have lost their importance, TV and films are the only SF that any given random sample of fen are likely to have consumed at roughly the same time, so that they can serve as a common basis of discussion. It can take months for everyone to have read even a 'must-read' book, especially if it first comes out in hardcover.

 Yes, as you say at the end of your Opening Comments, Mimosa is performing a service to fan history, but then again, memory is notoriously fallible. I have been caught out on fannish matters I recalled from only twenty years back, while many of your contributors are trying to hark back fifty years or more with few written records to help them. Howard DeVore certainly gets points for trying to find confirmation for his 44 year old "Mystery Guest" tale, but he himself admits that he came up with not a whole lot, even from people who ought to have known. And I can imagine that in future decades, a lot of ink is going to be spilled over David Kyle's 60 year old belated account of events at the first worldcon.

 Of course, in your remarks, what you actually say is that there are "so many stories that needed telling, for future generations of fans to read and be entertained." That could lend itself to the interpretation that you're interested in the creation and propagation of fannish legends, without much caring if they're true or not, so long as they are entertaining. I'd rather have late recollections than no recollections, but still better are recollections with records or other confirmation behind them. One of the more irritating things about Asimov's autobiography was how little research (besides looking in his diary) he was willing to do to check his recollections or make them more concrete. I hope your contributors will put up at least as much effort as Howard DeVore did in trying to reinforce their own memories.

{{ Many of them already do. Dave Kyle, for instance, takes great pains in checking facts as much as possible with surviving records and fans. You can see that he often quotes from these sources in his articles, sometimes to the point where we ask him to put a little more of himself into them. At any rate, we think it's inevitable that anyone who writes an historical article with a first person viewpoint will impart a certain amount of personal subjectivity into it -- after all, it's a view through his (or her) own eyes, and it's not really meant to be a scholarly work. From an historical viewpoint, and especially for controversial, high-visibility events like the 1939 Worldcon, the more of these that are written, the better chance to gain an understanding of what really happened, and why. As for making fan history more interesting to read, the next letter has more to say about that. }}

 I enjoyed Cato Lindberg's article, partly because it shows that Scandinavian fandom had a less frivolous side to it that has seemed the case from other writers. Cato's essay also gave me an idea for an article of my own, but given my miserable fanac record of late, I think I'll keep quiet about the topic until such time as I actually write it.

 In the Letters Column, Ahrvid Engholm remarks that he's met Forry Ackerman, who has met everyone else. Robert Sirigano provides the illustration of Forry meeting Stan Freberg. About a year back I discovered that Forry had met the guy who then occupied the desk next to mine at work! (The person in question was not an SF fan but a movie buff, and Forry had shown up at some film festival! I certainly know Forry by sight from seeing him on panels and such, but I can't recall having spoken to him, so I'm not sure of he counts as 'met' for me. He did send me a form letter once.)

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Taral Wayne, Toronto, Ontario, Canada
 So much of fanwriting these days is about the fannish past. Not fanhistory per se, but descriptions of old cons one is fond of, a friend who has died, favourite books you read when you started reading SF, and so on. It's very much like small talk -- you corner someone at a party and begin talking, you get interested in the person and his opinions, you trade likes and dislikes. I'm not sure the process is intrinically interesting, though. Does it matter to me what Alva Rogers or Calvin Demmon or Les Crouch liked reading when they were eighteen? The justification, of course, is whether the writer can tell you these things in an entertaining way. All fannish writing is story-telling, really. Even though 'fan fiction' is a derogatory term in some quarters, even factual reminiscences of real events have to be presented the same way as fiction. It has to have characters to identify with, an evolving structure, vivid images and sensory details, literary devices such as irony and metaphore, climax and completion. The further from fictional style, the less satisfying the 'real' article.

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Fred Smith, Glasgow, Scotland
 Robert Madle's tribute to John Baltadonis was engrossing. It's funny, but when I was active in fandom in the 1950s, those guys, along with Ackerman, Moskowitz, DeVore, and Kyle, were already legendary. We even had nostalgia for the 'old days' back then!

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We Also Heard From: Harry Andruschak, William Bains, Pat Baltadonis, Steve Baltadonis, John Berry, Pamela Boal, Ned Brooks, Chester Cuthbert, Richard Dengrove, Melanie Fletcher, Nick Grassel, Karen Pender-Gunn, Teddy Harvia, Ben Jason, Terry Jeeves, Bob Kennedy, Irv Koch, Ken Lake, Fred Liddle, Cato Lindberg, Eric Lindsay, Shinji Maki, Jeanne Mealy, Joseph Major, Yuri Mironets, Murray Moore, Janice Murray, Elizabeth Osborne, Lloyd Penney, Robert Peterson, Derek Pickles, Peggy Ranson, Dave Rowe, Julia Morgan-Scott, Agnieszka Sylwanowicz, Steve Sneyd, Gene Stewart, Ian Stockdale, Mark Strickert, Alan J. Sullivan, Ted Tubb, R Laurraine Tutihasi, Lennart Uhlin, Debra Weddall, Henry Welch, Art Widner, and Dorota Zywno. Thanks to one and all!

Title illustration by Sheryl Birkhead
Other illustrations by Brad Foster and William Rotsler
Chat cartoon by Teddy Harvia

'Chat' cartoon by Teddy Harvia

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