They might now realize their mistake and attempt to correct it, but they must not. At every consultation, the guidance of the Georges had been with that in mind.
At all costs, the Georges and those that followed in their shape and kind must dominate. That was demanded, and any other course made utterly impossible, by the Three Laws of Humanics.
The anthology Final Stage had some bad breaks after it was published. Apparently, the editor at the publishing house (not Doubleday) had decided to make some minor changes in the stories. This sort of thing often bothers writers and it particularly bothers Harlan Ellison (perhaps with justification, for I consider him a very careful craftsman with a highly individual style).
I therefore received a copy of a long and infuriated letter that Harlan had sent to the editors, including long lists of passages as he had originally written them and as they had appeared, with reasons why the changes were for the worse. Harlan urged me to read through my story and then join him and others in united pressure on the publisher.
I always read my stories when published but it never occurs to me to compare a published story with the manuscript. I would naturally notice sizable inserts or omissions, but I am never aware of the kind of minor changes that editors are always introducing. I tend to take it for granted that such changes just smooth out minor bumps in my writing and, in this way, improve it.
After receiving Hanan's letter, however, I went through published story and manuscript, comparing them painstakingly. It was a tedious job and a humiliating one, for I found exactly four minor changes, each correcting a careless error of mine. I could only assume the editor didn't think my story was important enough to fiddle with.
I had to write a shamefaced letter to Harlan, saying I would support him as a matter of principle, but that I could not raise cries of personal outrage, because my story hadn't been touched. Fortunately, my help wasn't needed. Harlan carried the day and later editions, I believe, restored their stories to their virginal innocence.
One minor point. A number of readers wrote to me in alarm since THAT THOU ART MINDFUL OF HIM seemed, to them, to have put an end to my positronic robot stories, and they feared I would never write one again. Ridiculous! Of course I do not intend to stop writing robot stories. I have, as a matter of fact, written a robot story since the preceding "ultimate" one was written. It appears later in the book.
I had a lot of trouble with this next story.
After Judy-Lynn joined Ballantine Books, she began to put out collections of original science fiction stories and she wanted a story from me. She's difficult to refuse at any time and, since I have always felt guilty about FEMININE INTUITION, I agreed.
I began the story on July 21, 1973, and it went smoothly enough, but after a while I felt I had trapped myself into an involuted set of flashbacks. So when I handed it to Judy-Lynn, and she asked me, "What do you think of the story?" I replied cautiously, "You'd better decide that for yourself."
Editors seem to ask me that question frequently. I think they have the idea that I have trouble telling lies, so that if I can't work up prompt and cheerful enthusiasm, there's something wrong with the story.
Judy-Lynn certainly thought so, She handed it back with a few paragraphs of caustic commentary which boiled down to the fact that I had trapped myself into an involuted set of flashbacks. [I am frequently asked if I ever get rejections and the questioner is invariably flabbergasted when I say, "Certainly I do." Here is an example. Not only was this story rejected once, but it was, as I go on to explain, rejected twice.]
I passed it on to Ben Bova, the editor of Analog Science Fiction, and he rejected it that same day. It seemed to him, he said, that I was trying to pack too much background into a ten-thousand-word story. I had a novel there and he wanted me to write that novel.
That disheartened me. There was absolutely no way in which I could get to work on a novel at that moment, so I just retired the story. [Incidentally, some people have the feeling that there is a great advantage in "knowing" editors, Both Judy-Lynn and Ben are among my very closest friends, but neither one hesitates a minute when it comes to rejecting my stories if they think that is the thing to do, Fortunately, such rejections don't affect the friendship.]
Meanwhile, however, Galaxy had gained a new editor, a very pleasant young man named James Baen, He called me and asked if I might possibly have a story for him and I said that the only thing I had on hand was a novelette called STRANGER IN PARADISE. However, I said, it had been rejected by Judy-Lynn and by Ben so I hesitated to send it to him.
He said, quite properly, that every editor had the right to decide for himself, so I sent the manuscript over-and he liked it. It appeared in the May-June 1974 issue of Galaxy's sister magazine, If, which has since, alas, ceased publication. (If it occurs to any Gentle Reader that this is an example of cause and effect, it isn't.)
Stranger in Paradise
1.
They were brothers. Not in the sense that they were both human beings, or that they were fellow children of a creche. Not at all! They were brothers in the actual biological sense of the word. They were kin, to use a term that had grown faintly archaic even centuries before, prior to the Catastrophe, when that tribal phenomenon, the family, still had some validity.
How embarrassing it was! Over the years since childhood, Anthony had almost forgotten. There were times when he hadn't given it even the slightest thought for months at a time. But now, ever since he had been inextricably thrown together with William, he had found himself living through an agonizing time.
It might not have been so bad if circumstances had made it obvious all along; if, as in the pre-Catastrophe days- Anthony had at one time been a great reader of history- they had shared the second name and in that way alone flaunted the relationship.
Nowadays, of course, one adopted one's second name to suit oneself and changed it as often as desired. After all, the symbol chain was what really counted, and that was encoded and made yours from birth.
William called himself Anti-Aut. That was what he insisted on with a kind of sober professionalism. His own business, surely, but what an advertisement of personal poor taste. Anthony had decided on Smith when he had turned thirteen and had never had the impulse to change it. It was simple, easily spelled, and quite distinctive, since he had never met anyone else who had chosen that name. It was once very common-among the pre-Cats-which explained its rareness now perhaps.
But the difference in names meant nothing when the two were together. They looked alike.
If they had been twins- but then one of a pair of twin-fertilized ova was never allowed to come to term. It was just that physical similarity occasionally happened in the non-twin situation, especially when the relationship was on both sides. Anthony Smith was five years younger, but both had the beaky nose, the heavy eyelids, the just noticeable cleft in the chin- that damned luck of the genetic draw. It was just asking for it when, out of some passion for monotony, parents repeated.
At first, now that they were together, they drew that startled glance followed by an elaborate silence. Anthony tried to ignore the matter, but out of sheer perversity-or perversion-William was as likely as not to say. "We're brothers…