So here, in a primitive form, is the basis of much of my twenty-seven years of professional writing: the attempt to get into another person’s head, or another creature’s head, and see out from his eyes or its eyes, and the more different that person is from the rest of us the better. You start with the sentient entity and work outward, inferring its world. Obviously, you can’t ever really know what its world is like, but, I think, you can make some pretty good guesses. I began to develop the idea that each creature lives in a world somewhat different from all the other creatures and their worlds. I still think this is true. To Snooper, garbagemen were sinister and horrible. I think he literally saw them differently than we humans did.
This notion about each creature viewing the world differently from all other creatures—not everyone would agree with me. Tony Boucher was very anxious to have a particular major anthologizer (whom we will call J.M.) read Roog to see if she might use it. Her reaction astounded me. “Garbagemen do not look like that,”she wrote me. “They do not have pencil-thin necks and heads that wobble. They do not eat people.” I think she listed something like twelve errors in the story all having to do with how I represented the garbage-men. I wrote back, explaining that, yes, she was right, but to a dog—well, all right, the dog was wrong. Admittedly. The dog was a little crazy on the subject. We’re not just dealing with a dog and a dog’s view of garbagemen, but a crazy dog—who has been driven crazy by these weekly raids on the garbage can. The dog has reached a point of desperation. I wanted to convey that. In fact that was the whole point of the story; the dog had run out of options and was demented by this weekly event. And the Roogs knew it. They enjoyed it. They taunted the dog. They pandered to his lunacy.
Ms. J.M. rejected the story from her anthology, but Tony printed it, and it’s still in print; in fact it’s in a high school text book, now. I spoke to a high school class who had been assigned the story, and all of the kids understood it. Interestingly, it was a blind student who seemed to grasp the story best. He knew from the beginning what the word Roog meant. He felt the dog’s despair, the dog’s frustrated fury and the bitter sense of defeat over and over again. Maybe somewhere between 1951 and 1971 we all grew up to dangers and transformations of the ordinary which we had never recognized before. I don’t know. But anyhow, Roog, my first sale, is biographical; I watched the dog suffer, and I understood a little (not much, maybe, but a little) of what was destroying him, and I wanted to speak for him. That’s the whole of it right there. Snooper couldn’t talk. I could. In fact I could write it down, and someone could publish it and many people could read it. Writing fiction has to dowith this: becoming the voice for those without voices, if you see what I mean. It’s not your own voice, you the author; it is all those other voices which normally go unheard.
The dog Snooper is dead, but the dog in the story, Boris, is alive. Tony Boucher is dead, as some day I will be, and, alas, so will you. But when I was with that high school class and we were discussing Roog, in 1971, exactly twenty years after I sold the story originally—Snooper’s barking and his anguish, his noble efforts, were still alive, which he deserved. My story is my gift to an animal, to a creature who neither sees nor hears, now, who no longer barks. But goddam it, he was doing the right thing. Even if Ms. J.M. didn’t understand. (written 1978)
I love this story, and I doubt if I write any better today than I did in 1951, when I wrote it; I just write longer. (1976)
THE LITTLE MOVEMENT Fantasy & Science Fiction, Nov 1952.
BEYOND LIES THE WUB Planet Stories, July 1952.
My first published story, in the most lurid of all pulp magazines on the stands at the time, Planet Stories. As I carried four copies into the record store where I worked, a customer gazed at me and them, with dismay, and said, “Phil, you read that kind of stuff?” I had to admit I not only read it, I wrote it.
THE GUN Planet Stories, Sept 1952.
THE SKULL If, Sept 1952.
THE DEFENDERS Galaxy, Jan 1953. [Parts of this story were adapted for the novel THE PENULTIMATE TRUTH.]
MR. SPACESHIP Imagination, Jan 1953.
PIPER IN THE WOODS Imagination, Feb 1953.
THE INFINITES Planet Stones, May 1953.
THE PRESERVING MACHINE Fantasy & Science Fiction, June 1953.
EXPENDABLE (“He Who Waits”) Fantasy & Science Fiction, July 1953.
I loved to write short fantasy stories in my early days—for Anthony Boucher—of which this is my favorite. I got the idea when a fly buzzed by my head one day and I imagined (paranoia indeed!) that it was laughing at me. (1976)
THE VARIABLE MAN Space Science Fiction (British), July 1953.
THE INDEFATIGABLE FROG Fantastic Story Magazine, July 1953.
THE CRYSTAL CRYPT Planet Stories, Jan 1954.
THE SHORT HAPPY LIFE OF THE BROWN OXFORD Fantasy & Science Fiction, Jan 1954.
THE BUILDER 7/23/52. Amazing, Dec 1953-Jan 1954.
MEDDLER 7/24/52. Future, Oct 1954.
Within the beautiful lurks the ugly; you can see in this rather crude story the germ of my whole theme that nothing is what it seems. This story should be read as a trial run on my part; I was just beginning to grasp that obvious form and latent form are not the same thing. As Heraclitus said in fragment 54: “Latent structure is master of obvious structure,” and out of this comes the later more sophisticated Platonic dualism between the phenomenal world and the real but invisible realm of forms lying behind it. I may be reading too much into this simple-minded early story, but at least I was beginning to see in a dim way what I later saw so clearly; in fragment 123, Heraclitus said, “The nature of things is in the habit of concealing itself,” and therein lies it all. (1978)
PAYCHECK 7/31/52. Imagination, June 1953.
How much is a key to a bus locker worth? One day it’s worth 25 cents, the next day thousands of dollars. In this story, I got to thinking that there are times in our lives when having a dime to make a phone call spells the difference between life and death. Keys, small change, maybe a theater ticket—how about a parking receipt for a Jaguar? All I had to do was link this idea up with time travel to see how the small and useless, under the wise eyes of a time traveler, might signify a great deal more. He would know when that dime might save your life. And, back in the past again, he might prefer that dime to any amount of money, no matter how large. (1976)