Hostname: page-component-78c5997874-8bhkd Total loading time: 0 Render date: 2024-11-10T06:40:14.777Z Has data issue: false hasContentIssue false
  • English
  • Français

The Strange Case of Byron Preiss Visual Publications

Published online by Cambridge University Press:  14 May 2019

PAUL WILLIAMS Open the ORCID record for PAUL WILLIAMS [Opens in a new window]
PAUL WILLIAMS*
Affiliation:
College of Humanities, University of Exeter. Email: p.g.williams@ex.ac.uk.
Get access Rights & Permissions [Opens in a new window]

Abstract

Between 1976 and 1979 Byron Preiss operated as a book packager specializing in graphic novels, bringing comics creators together on original stories and licensed properties and delivering the finished product to publishing houses. Far from being praised for his efforts, Preiss was attacked by fans and comics professionals for betraying the very medium he professed to uplift. This article explains the industrial shifts behind the rise of Byron Preiss Visual Publications and book-format comics, as well as accounting for the hostility directed against Preiss, a level of vitriol that increased after his collaborators on Empire (1978) expressed their dismay at the changes he made to the graphic novel before publication.

Type
Articles
Information
Journal of American Studies , Volume 55 , Issue 1 , February 2021 , pp. 102 - 129
Check for updates
Copyright
Copyright © Cambridge University Press and British Association for American Studies 2019

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

1 A useful summary of the arguments for and against the term “graphic novel” can be found in Frey, Hugo and Baetens, Jan, The Graphic Novel: An Introduction (New York: Cambridge University Press, 2015), 1–5Google Scholar. I use the phrase without qualification, reflecting the terminology that Preiss, his collaborators, and his readers used themselves.

2 See Hatfield, Charles, Alternative Comics: An Emerging Literature (Jackson: University Press of Mississippi, 2005)Google Scholar; Sabin, Roger, Adult Comics: An Introduction (London: Routledge, 1993)Google Scholar; Witek, Joseph, Comic Books as History: The Narrative Art of Jack Jackson, Art Spiegelman, and Harvey Pekar (Jackson: University Press of Mississippi, 1989)Google Scholar.

3 Ron Harris, “Argh,” CAPA-alpha, 167 (Sept. 1978), [1.49–62, 1.57]. Where sources lack pagination I have provided my own, indicated by square brackets. Numbers have been deduced by counting in from the front of the text, taking the front cover as page 1 and counting every side as a page. CAPA-alpha generates specific difficulties, a monthly collaborative fan publication sometimes more than 700 pages long and compiled from multiple newsletters; contributions to CAPA-alpha were inconsistently paginated and later mailings were typically divided into discrete bindings. I have ignored internal pagination in the newsletters themselves and attributed page numbers using the system referred to above. When an issue has been partitioned I use two numbers separated by a period: the first indicates which binding, the second represents the page(s) in that binding. Unbound contributions to CAPA-alpha are indicated with “[insert]” and my citations refer to the page numbers printed on those newsletters themselves, though where these are unpaginated I have allocated page numbers myself.

4 At two pages, BPVP is afforded more space in Frey and Baetens, Graphic Novel, 69–70, than in most other books. Brief references to BPVP and its graphic novels can be found in Costello, Brannon, Neon Visions: The Comics of Howard Chaykin (Baton Rouge: Louisiana State University Press, 2017), 21, 46Google Scholar; Harvey, R. C., The Art of the Comic Book: An Aesthetic History (Jackson: University Press of Mississippi, 1996), 109, 145Google Scholar; Harvey Kurtzman with Barrier, Michael, From Aargh! to Zap! Harvey Kurtzman's Visual History of the Comics (New York: Prentice Hall Press, 1991), 75Google Scholar.

5 Baetens, Jan, “Graphic Novels,” in Cassuto, Leonard, ed., The Cambridge History of the American Novel (Cambridge: Cambridge University Press, 2011), 1137–53CrossRefGoogle Scholar, 1151.

6 Duncan, Randy, Smith, Matthew J., and Levitz, Paul, The Power of Comics: History, Form, and Culture, 2nd edn (London: Bloomsbury Academic, 2015), 87Google Scholar.

7 Lopes, Paul, Demanding Respect: The Evolution of the American Comic Book (Philadelphia: Temple University Press, 2009), 132Google Scholar; Sabin, Roger, Comics, Comix & Graphic Novels (London: Phaidon, 1996), 165Google Scholar.

8 Lopes, xi.

9 Pizzino, Christopher, Arresting Development: Comics at the Boundaries of Literature (Austin: University of Texas Press, 2016), 22–45Google Scholar, 42.

10 Ibid., 30, 22.

11 Ibid., 22–45, 32–33.

12 See my forthcoming monograph from Rutgers University Press.

13 I have in mind the communications circuit proposed in Darnton, Robert, The Kiss of Lamourette: Reflections in Cultural History, rev. edn (London: Faber, 1990), 107–36Google Scholar; revised in Adams, Thomas R. and Barker, Nicholas, “A New Model for the Study of the Book,” in Barker, Nicholas, ed., A Potencie of Life: Books in Society (London: British Library, 1993), 1–39Google Scholar. These essays are excerpted in David Finkelstein and McCleery, Alistair, eds., The Book History Reader, 2nd edn (London: Routledge, 2006), 9–26Google Scholar, 47–65.

14 This picture of the collective nature of comics production, distribution, and reception is indebted to the model of the “comics world” that Bart Beaty espouses, which in turn is indebted to sociologist Howard Becker's concept of the “art world.” See Beaty, Bart, Comics versus Art (Toronto: University of Toronto Press, 2012)Google Scholar; Becker, Howard S., Art Worlds, anniversary edn (Berkeley: University of California Press, 2008)Google Scholar. Although Beaty draws on Becker more than on other critics, earlier versions of the “art-world” model had been proposed by the philosopher of art Arthur Danto and art critic George Dickie.

15 Arnaudo, Marco, The Myth of the Superhero, trans. Richards, Jamie (Baltimore: Johns Hopkins University Press, 2013), 153Google Scholar; Brooker, Will, Batman Unmasked: Analyzing a Cultural Icon (New York: Continuum, 2000), 253Google Scholar; Lopes, 97; Pustz, Matthew, Comic Book Culture: Fanboys and True Believers (Jackson: University Press of Mississippi, 1999), 46Google Scholar.

16 Brown, Jeffrey A., Black Superheroes, Milestone Comics, and Their Fans (Jackson: University Press of Mississippi, 2001), 11; Pustz, 37–48Google Scholar, 82, 167.

17 Shooter, Jim, interview with Kim Thompson, Comics Journal, 40 (June 1978), 38–45Google Scholar, 45. Comics Journal hereafter abbreviated to CJ.

18 Hatfield, Alternative Comics, 20–30; Wright, Bradford W., Comic Book Nation: The Transformation of Youth Culture in America, rev. edn (Baltimore: Johns Hopkins University Press, 2003), 253–60Google Scholar, 253; Howe, Sean, Marvel Comics: The Untold Story (New York: HarperCollins, 2012), 212Google Scholar.

19 See the comments by writer Roy Thomas and publisher Jim Warren in Gary Brown, “Ibid,” CAPA-alpha, 122 (Dec. 1974), [41]; and Bill Schelly, The Golden Age of Comic Fandom, rev. edn (Seattle: Hamster Press, 1999), 89, 92, respectively.

20 See Schelly, an enlightening history written from the perspective of a fan who participated in many key events of the 1960s and 1970s. An account of how comics fans responded to industrial change in the mid-1970s is provided in Michael Goodrum, Superheroes and American Self Image: From War to Watergate (London: Routledge, 2016), 177–215.

21 Kilgour, Frederick G., The Evolution of the Book (New York: Oxford University Press, 1998), 144–45Google Scholar. See also Thompson, John B., Merchants of Culture: The Publishing Business in the Twenty-First Century, 2nd edn (Cambridge: Polity Press, 2012), 105Google Scholar.

22 Whiteside, Thomas, The Blockbuster Complex: Conglomerates, Show Business, and Book Publishing (Middletown, CT: Wesleyan University Press, 1981)Google Scholar, 15, 192.

23 Ibid., 39–46, 111.

24 Ibid., 19; Shatzkin, Leonard, In Cold Type: Overcoming the Book Crisis (Boston: Houghton Mifflin, 1982), 2–12Google Scholar, 68, 73; Gelder, Ken, Popular Fiction: The Logics and Practices of a Literary Field (London: Routledge, 2004)CrossRefGoogle Scholar, 1 n. 7.

25 Coser, Lewis A., Kadushin, Charles, and Powell, Walter W., Books: The Culture and Commerce of Publishing (New York: Basic Books, 1982), 41, 212–15Google Scholar.

26 Whiteside, 21.

27 Thompson, Merchants of Culture, 37.

28 Gil Kane [with Archie Goodwin], Blackmark (New York: Bantam Books, 1971); Preiss, Byron and Reaves, Michael, writers, and Zucker, Michael, illustrations, Dragonworld (New York: Bantam Books, 1979)Google Scholar.

29 The Green Lantern series was renamed Green Lantern Co-starring Green Arrow during O'Neil and Adams's run on the title.

30 Denny O'Neil, writer, Neal Adams and Frank Giacola, artists, Green Lantern Co-starring Green Arrow, Volume I (New York: Paperback Library, 1972); Denny O'Neil, writer, Neal Adams, Frank Giacola, and Dan Adkins, artists, Green Lantern Co-starring Green Arrow, Volume II (New York: Paperback Library, 1972). Volume I begins with an origin story written by John Broome with art by Gil Kane and Joe Giella, “SOS Green Lantern!” (1959).

31 Goodrum, Superheroes and American Self Image, 178–84.

32 Byron Preiss, interview with George Olshevsky, Collector's Dream, 1, 5 (Summer 1978), 92–99.

33 Transcript of The Alex Bennett Show, broadcast on WMCA on 23 Nov. 1970, reproduced in John Nyman, “Mutha Load,” CAPA-alpha, 76 (Feb. 1971), [6] [insert].

34 Preiss, interview with G. Olshevsky, 92–99, 99.

35 Whiteside, 64–65, 85–87, 115–20.

36 For a full list see Robert G. Weiner, Marvel Graphic Novels and Related Publications: An Annotated Guide to Comics, Prose Novels, Children's Books, Articles, Criticism and Reference Works, 1965–2008 (Jefferson, NC: McFarland, 2008).

37 Preiss, interview with G. Olshevsky, 96–97.

38 Whiteside, 3, 19, 52–87, 115–20.

39 “Et Al,” Comic Reader, 91 (Nov. 1972), 14. Comic Reader hereafter abbreviated to CR.

40 “Media Review,” CR, 174 (Nov. 1979), 5–6.

41 “Newswatch,” CJ, 51 (Nov. 1979), 10. See also “Marvel News,” CR, 183 (Sept. 1980), 5.

42 Howe, Marvel Comics, 214.

43 Goodwin, Archie, writer, and Simonson, Walt, art, Alien: The Illustrated Story (New York: Heavy Metal Communications, 1979)Google Scholar; Asherman, Allan, adaptor, Bissette, Stephen and Veitch, Rick, art, 1941: The Illustrated Story (New York: Heavy Metal and Pocket Books, 1979)Google Scholar.

44 Coser, Kadushin, and Powell, Books, 182, 265–66, 301; Thompson, Merchants of Culture, 62–63.

45 Becker, Art Worlds, 88.

46 Preiss, Byron, “Nine Visions in Amber,” Mediascene, 28 (Nov.–Dec. 1977), 7Google Scholar; Scroggy, Dave, “Wugga Wugga,” Buyer's Guide for Comic Fandom, 233 (5 May 1978), 4Google Scholar; Tony Robertson, letter, CJ, 40 (June 1978), 17. Buyer's Guide for Comic Fandom is hereafter abbreviated to BG.

47 Scroggy, 4.

48 Tony Robertson, letter, CJ, 40 (June 1978), 17.

49 The title of this section is from ibid., 17.

50 Preiss, interview with G. Olshevsky, 92–99.

51 Stein, Ellin, That's Not Funny, That's Sick: The National Lampoon and the Comedy Insurgents Who Captured the Mainstream (New York: Norton, 2013), 172–73Google Scholar.

52 Preiss, Byron, writer, and Reese, Ralph, illustrations, One Year Affair (New York: Workman Publishing, 1976)Google Scholar, back matter.

53 Alex Jay, interview with the author, 29 Oct. 2014.

54 Preiss, interview with G. Olshevsky, 99.

55 Robertson, letter, 17.

56 Preiss, interview with G. Olshevsky, 92–94.

57 Ellison, Harlan, interview with Gary Groth, CJ, 53 (Winter 1980), 68–107Google Scholar, 87.

58 Byron Preiss, letter to Will Eisner, c.1974, in WEE 1, Folder 23, Will Eisner Papers, Billy Ireland Cartoon Library and Museum, Ohio State University, Columbus, OH.

59 Howard V. Chaykin, email to the author, 23 April 2018; Samuel Delany, email to the author, 16 April 2018.

60 This first appears in Byron Preiss, writer and editor, and Fabian, Stephen, illustrations, Starfawn (New York: Pyramid, 1976)Google Scholar, back cover.

61 Advert for Bud Plant's Comics and Comix “New for August,” Nostalgia Journal, 28 (Sept. 1976), 9; advert for Bud Plant's Comics and Comix “New for August,” CR, 136 (Oct. 1976), 28–29; “Visual Publications,” CR, 126 (Jan. 1976), 12; Art Scott, “Times are Tough, Huh, Bud?” CAPA-alpha, 139 (May 1976), [1.67].

62 Preiss, interview with G. Olshevsky, 96.

63 Byron Preiss, writer and editor, and Tom Sutton, illustrations, Schlomo Raven (New York: Pyramid, 1976).

64 Preiss, Introduction, ibid., [10].

65 Byron Preiss, Introduction, Starfawn, [7], original emphasis.

66 Preiss, Introduction, Schlomo Raven, [10].

67 Steranko, James, Chandler: Red Tide (New York: Pyramid, 1976)Google Scholar.

68 Preiss, Byron, writer and editor, and Reese, Ralph, illustrations and colours, Son of Sherlock Holmes (New York: Pyramid, 1977)Google Scholar.

69 Gary Brown, “Ibid,” CAPA-alpha, 145 (Nov. 1976), [2.82]. See also Scott, [1.67].

70 Mark Burbey, review of Schlomo Raven, RBCC, 126 (April 1976), 29.

71 “Comixscene,” Mediascene, 21 (Sept.–Oct. 1976), 24.

72 Greim, Martin L., “Crusader Comments,” BG, 180 (29 April 1977)Google Scholar, 18.

73 Bruzenak, Ken, “Is There 3D in Your Future?” Mediascene, 31 (May–June 1978), 18–19Google Scholar, 19.

74 Zelazny, Roger, writer, Preiss, Byron, editor and adaptor, and Morrow, Gray, illustrations [with pencils for one story by Golden, Michael], The Illustrated Roger Zelazny (New York: Baronet, 1978)Google Scholar; Ellison, Harlan, writer, Preiss, Byron, editor, and artists, various, The Illustrated Harlan Ellison (New York: Baronet, 1978)Google Scholar; Bester, Alfred, writer, Preiss, Byron, adaptor, and Chaykin, Howard, artist, The Stars My Destination (New York: Baronet, 1979)Google Scholar.

75 Advert for Bud Plant (March 1978 catalog #14), CJ, 39 (April 1978), 44.

76 Advert for Monkey's Retreat Retail-Mail Order, BG, 257 (20 Oct. 1978), 46.

77 Advert for The Illustrated Roger Zelazny by Gray Morrow, CR, 167 (April 1979), 28.

78 Advert for BPVP, Mediascene, 31 (May–June 1978), 16.

79 Delany, Samuel R., writer, and Chaykin, Howard V., artist, Empire: A Visual Novel (New York: Berkley Windhover, 1978)Google Scholar.

80 Advert for Supergraphics, BG, 230 (14 April 1978), 76; advert for the Monkey's Retreat Retail-Mail Order, 46.

81 Sturgeon, Theodore, writer, Moench, Doug, adaptor, and Nino, Alex, illustrations, More Than Human: The Graphic Story Version (New York: Heavy Metal, 1978)Google Scholar.

82 “Newswatch,” CJ, 55 (April 1980), 24.

83 McConnell, Kevin C., “Disappointment My Destination,” CJ, 57 (Summer 1980), 4Google Scholar.

84 Preiss, Byron, “An Opinion,” CR, 160 (Sept. 1978), 14Google Scholar.

85 Preiss, interview with G. Olshevsky, 96.

86 The title of this section is taken from Rowe, Steven, “MCs,” CAPA-alpha, 170 (Dec. 1978)Google Scholar, [1.108]. Fiske, John, “The Cultural Economy of Fandom,” in Lewis, Lisa A., ed., The Adoring Audience: Fan Culture and Popular Media (London: Routledge, 1992), 34–37Google Scholar.

87 Harvey, Art of the Comic Book, 109.

88 James Steranko quoted in Greim, “Crusader Comments,” 18; Steranko, James, interview with Olshevsky, George, Collector's Dream, 1, 5 (Summer 1978), 82–87Google Scholar, 86.

89 Doug Moench, interview, RBCC, 147 (Feb. 1979), 37–47, 47.

90 Pozner, Neal, “What th- Anyhate,” CAPA-alpha, 141 (July 1976), [2.106–7]Google Scholar. See also Gerber, Steve, interview with Groth, Gary, CJ, 41 (Aug. 1978), 28–44Google Scholar, 37; Zilber, Jay L. and Gale, Ken, “Weird Thoughts in the Twentieth Century,” CAPA-alpha, 144 (Oct. 1976)Google Scholar [2.61]; Scott, Art, “Times Are Tough, Huh, Bud?” CAPA-alpha, 147 (Jan. 1977)Google Scholar, [1.19]; Evanier, Mark, “Feetlebaum,” CAPA-alpha, 150 (April 1977)Google Scholar, [2.17]; G. Groth quoted in Ellison, interview with G. Groth, 90.

91 Harris, “Argh,” [1.52, 1.60].

92 Korkis, Jim, “Harlequin,” CAPA-alpha, 148 (Feb. 1977)Google Scholar, [2.44].

93 Kim Thompson, review of Future Day by Gene Day, CJ, 55 (April 1980), 32.

94 Samuel Delany, “Refractions of Empire: The Comics Journal Interview,” 29, in Box 50, File 6, Samuel R. Delany Papers, Howard Gotlieb Archival Research Center, Boston University. These holdings are referred to hereafter as the “Delany Papers.”

95 Melchert, Christopher, “Onde de Choc [Shockwave],” CAPA-alpha, 155 (Sept. 1977)Google Scholar, [1.97]. See also Kurtzman with Barrier, From Aargh! to Zap!, 75.

96 Harris, [1.59].

97 Jim Shooter, interview with Gary Groth, CJ, 60 (Nov. 1980), 56–83, 83.

98 Harris, [1.60].

99 Harris, Ron, “Aargh,” CAPA-alpha, 140 (June 1976), [1.77]Google Scholar.

100 Fiske, “The Cultural Economy of Fandom,” 43.

101 Gibson, Mel, Remembered Reading: Memory, Comics and Post-war Constructions of British Girlhood (Leuven: Leuven University Press, 2015), 170Google Scholar.

102 Ibid., 162; Pustz, Comic Book Culture, 114.

103 Harris, “Aargh” (June 1976), [1.75]; Harris, “Argh” (Sept. 1978), [1.60–61].

104 Dan Recchia, letter, CJ, 51 (Nov. 1979), 25.

105 Ellison, interview with G. Groth, 8.

106 Zilber, Jay, “First Look,” CJ, 48 (Summer 1979), 64–65Google Scholar, 64, italics in original.

107 Harris, “Aargh” (June 1976), [1.75].

108 Korkis, “Harlequin” (Feb. 1977), [2.44].

109 Zilber, 64. See also Soron, Bob, “Grooble!”, CAPA-alpha, 184 (Feb. 1980), 15Google Scholar [insert].

110 Gary Brown, “Ibid,” CAPA-alpha, 143 (Sept. 1976), 16 [insert]. See also Neal Adams, interview with Gary Groth, CJ, 43 (Dec. 1978), 43–44.

111 Advert for BPVP, CR, 159 (Aug. 1978), 20–24.

112 “First Annual Future Events Contest,” CJ, 53 (Winter 1980), 65–67, 65.

113 Kevin DeWitt Reid, letter, CJ, 60 (Nov. 1980), 30.

114 Ellison, interview with G. Groth, 87.

115 Harvey Kurtzman, Foreword, Schlomo Raven, [7].

116 Nyberg, Amy Kiste, Seal of Approval: The History of the Comics Code (Jackson: University Press of Mississippi, 1998), xiGoogle Scholar.

117 Wright, Comic Book Nation, 143.

118 Ibid., 154–79. See also Nyberg, 117–24; and for the British context Martin Barker, A Haunt of Fears: The Strange History of the British Horror Comics Campaign (London: Pluto Press, 1984).

119 Todd Goldberg, letter, CJ, 44 (Feb. 1979), 21; Morra, Louis, “Nonsubstantiality,” CAPA-alpha, 141 (July 1976)Google Scholar, [2.14]; Wasserman, Jeffrey H., “Jāch Spake!” CAPA-alpha, 145 (Nov. 1976), [1.31]Google Scholar. See also the reviews of BPVP's books in RBCC: Burbey, review of Schlomo Raven, 29; James Van Hise, review of Starfawn, RBCC, 127 (May 1976), 13.

120 Howard Chaykin, interview, CJ, 51 (Nov. 1979), 55; Harlan Ellison, interview with James Van Hise, RBCC, 151 (Aug. 1980), 21.

121 A letter from Craig Ledbetter to CJ, 45 (May 1979), 22, made a similar point: “Until the majority of the field begins to take the shape that Byron Preiss is pushing I'm afraid that comics will languish in the ghetto.” See also Mike Friedrich, interview with Mal Burns, Graphixus, 2 (March 1978), 22; Rick Marschall, interview, CJ, 52 (Dec. 1979), 57.

122 Fifield, Rich, “Zeta Beam,” CAPA-alpha, 176 (June 1979)Google Scholar, [2.23].

123 Byron Preiss, Foreword, Empire, [4].

124 Samuel R. Delany, interview, CJ, 48 (Summer 1979), 40.

125 Dykema, Dave, “1977: A Renewed Hope,” in Sacks, Jason, ed., American Comic Book Chronicles: The 1970s, 1970–1979 (Raleigh, NC: TwoMorrows Publishing, 2014), 205–6Google Scholar.

126 Schumer, Arlen, “The New Superheroes: A Graphic Transformation,” Print, 42, 6 (Nov.–Dec. 1988), 112–31Google Scholar, 119. A useful summary of Chaykin's career up to the early 1980s is provided in Costello, Neon Visions, 19–21, 45–47.

127 Jeff Gelb, letter, BG, 255 (6 Oct. 1978), 8–9; Bishoff, Murray, “A Report on the Chicago Comic Convention,” BG, 247 (11 Aug. 1978), 49–52Google Scholar, 50.

128 Gerald Jonas, “S.F.,” New York Times Book Review, 16 Feb. 1975, 27.

129 Melchert, “Onde de Choc,” [1.97].

130 “Visual Publications,” CR, 137 (Nov. 1976), 9.

131 “Empire,” Mediascene, 29 (Jan.–Feb. 1978), 28–29.

132 Ibid., 28–29.

133 Delany, interview, 71.

134 Toomey, Bob, “Vanishing Point,” CJ, 45 (March 1979), 32–33Google Scholar, 32.

135 “Empire,” 28–29.

136 Toomey, “Vanishing Point,” 32–33.

137 Robert LaRouche, “Fantastic Visions,” St. Louis Post-Dispatch, 4 March 1979, in Box 65, Folder 11, Delany Papers.

138 Leo McConnell, “Worth Looking Into,” Country News, 14 Dec. 1978, in Box 65, Folder 11, Delany Papers.

139 Delany, interview, 41–43.

140 Ibid., 71.

141 Delany, “Refractions of Empire: The Comics Journal Interview,” 29–30.

142 Delany, interview, 42–43.

143 Delany, “Refractions of Empire: The Comics Journal Interview,” 35–44.

144 Delany, letter, CJ, 51 (Nov. 1979), 23.

145 Delany, interview, 71.

146 Delany, journal with notes on “Empire” marked [1978?], in Box 56, Folder 12, Delany Papers.

147 Delany, interview, 43.

148 Ibid., 43, 70.

149 Delany, “Refractions of Empire: The Comics Journal Interview,” 49–51.

150 Delany, interview, 43, 70.

151 Scott, “Times are Tough, Huh, Bud?” (Jan. 1977), [1.20].

152 Rowe, Steven, “The Savage Gentleman,” CAPA-alpha, 179 (Sept. 1979), [84]Google Scholar.

153 Rowe, “MCs,” [1.108].

154 Harris, “Argh” (Sept. 1978), [1.58].

155 Chaykin, interview, 55, 66.

156 Dawson, Jim, review of The Illustrated Roger Zelazny, CJ, 44 (Feb. 1979), 27–28Google Scholar.

157 Julie Simmons, letter, CJ, 47 (July 1979), 18.

158 Askegren, Pierce, “A Mixed Bag of Ellison,” CJ, 48 (Summer 1979), 29–31Google Scholar, 30.

159 Ellison, interview with J. V. Hise, 21.

160 Ellison, interview with G. Groth, 88.

161 Bruzenak, “Is There 3D in Your Future?”, 19.

162 “Newswatch,” CJ, 42 (Oct. 1978), 8–13. The published title had “Contract,” not “Covenant.”

163 Samuel Delany, emails to the author, 16–18 April 2018.

164 Ibid.; Moench, interview, 43.

165 Alex Jay, interview with the author, 29 Oct. 2014.