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“His first published SF story was "Black Destroyer" in the July 1939 Astounding, … Not only was "Black Destroyer" pictured on the cover of the magazine, but it would be recognized as one of the most significant stories published in Astounding that year.”
“His first published SF story was "Black Destroyer" in the July 1939 Astounding, … Not only was "Black Destroyer" pictured on the cover of the magazine, but it would be recognized as one of the most significant stories published in Astounding that year.”


[http://vanvogt.www4.mmedia.is/voyageof.htm Image of Astounding cover ]</ref> of the issue of ''Astounding'' that is sometimes described as having ushered in the "Golden Age" of science fiction.<ref>For example, Peter Nicholls ({{cite book | editor= [[John Clute|Clute, John]] & [[Peter Nicholls (writer)|Nicholls, Peter]]| title= The Encyclopedia of Science Fiction| origdate= 1993| publisher= [[St. Martin's Press|St. Martin's Press, Inc.]]| location= New York| page= 199|isbn= 0-312-09618-6}}) says "The beginning of Campbell's particular Golden Age of SF can be pinpointed as the summer of 1939," and goes on to begin the discussion with the July 1939 issue. Lester del Rey ({{cite book | first=Lester | last=del Rey |authorlink= Lester del Rey| title=The World of Science Fiction and Fantasy: The History of a Subculture| publisher=Ballantine Books | location=New York | year=1979 | page = 94|isbn= 0-345-25452-X}}) comments that "July was the turning point".</ref> The story served as the inspiration for a number of science fiction movies.<ref group="note">(a) Pringle, David (1990) "The Ultimate Guide to Science Fiction", Grafton Books, page 346. <br>
[http://vanvogt.www4.mmedia.is/voyageof.htm Image of Astounding cover ]</ref> of the issue of ''Astounding'' that is sometimes described as having ushered in the "Golden Age" of science fiction.<ref>For example, Peter Nicholls ({{cite book | editor= [[John Clute|Clute, John]] & [[Peter Nicholls (writer)|Nicholls, Peter]]| title= The Encyclopedia of Science Fiction| origdate= 1993| publisher= [[St. Martin's Press|St. Martin's Press, Inc.]]| location= New York| page= 199|isbn= 0-312-09618-6}}) says "The beginning of Campbell's particular Golden Age of SF can be pinpointed as the summer of 1939," and goes on to begin the discussion with the July 1939 issue. Lester del Rey ({{cite book | first=Lester | last=del Rey |authorlink= Lester del Rey| title=The World of Science Fiction and Fantasy: The History of a Subculture| publisher=Ballantine Books | location=New York | year=1979 | page = 94|isbn= 0-345-25452-X}}) comments that "July was the turning point".</ref> The story served as the inspiration for a number of science fiction movies.<ref group="note">(a) Pringle, David (1990) "The Ultimate Guide to Science Fiction", Grafton Books, page 346.
"This [The voyage of the Space Beagle] is the classic 'bug-eyed monster' novel, the unacknowledged inspiration for the film ''Alien'' and scores of similar"<br>
*"This [The voyage of the Space Beagle] is the classic 'bug-eyed monster' novel, the unacknowledged inspiration for the film ''Alien'' and scores of similar"
(b) Hughes, Aaron [http://fantasticreviews.com/weapon_shops_of_isher.htm "Neglected Masters Book Review"] retrieved 2010-09-09<br>
(b) Hughes, Aaron [http://fantasticreviews.com/weapon_shops_of_isher.htm "Neglected Masters Book Review"] retrieved 2010-09-09
"The stories collected in The Voyage of the Space Beagle were perhaps the first to chronicle the adventures of the crew of a large, military-style starship exploring the universe, and doubtless influenced [[Gene Roddenberry]] strongly when he created ''Star Trek''."<br>
*"The stories collected in The Voyage of the Space Beagle were perhaps the first to chronicle the adventures of the crew of a large, military-style starship exploring the universe, and doubtless influenced [[Gene Roddenberry]] strongly when he created ''Star Trek''."
"One of the Space Beagle stories purportedly inspired the movie ''Alien'' - the resemblance was great enough that van Vogt brought a lawsuit against the filmmakers, which reportedly settled for a $50,000 payment."<br>
*"One of the Space Beagle stories purportedly inspired the movie ''Alien'' - the resemblance was great enough that van Vogt brought a lawsuit against the filmmakers, which reportedly settled for a $50,000 payment."
(c) Walters, Trent [http://www.zone-sf.com/vanvogtmethod.html "Oh, the Humanity of A.E. van Vogt's Monsters: Reorienting Critics and Readers to the van Vogt Method"] retrieved 2010-09-09<br>
(c) Walters, Trent [http://www.zone-sf.com/vanvogtmethod.html "Oh, the Humanity of A.E. van Vogt's Monsters: Reorienting Critics and Readers to the van Vogt Method"] retrieved 2010-09-09
"... The Voyage Of The Space Beagle (1950), later inspired the original ''Star Trek'' series and the movie ''Alien''."<br>
*"... The Voyage Of The Space Beagle (1950), later inspired the original ''Star Trek'' series and the movie ''Alien''."
(d) Jonas, Gerald (2000) "A. E. van Vogt, 87, Forceful Science-Fiction Voice", New York Times obituary, 2000-02-04<br>
(d) Jonas, Gerald (2000) "A. E. van Vogt, 87, Forceful Science-Fiction Voice", New York Times obituary, 2000-02-04
" 'Black Destroyer' has been cited as the inspiration for the movie ''Alien'' and its many sequels and imitations"
*" 'Black Destroyer' has been cited as the inspiration for the movie ''Alien'' and its many sequels and imitations"
(e) Jameson, Fredric. ''Archaeologies of the Future. The Desire Called Utopia and Other Science Fictions'' (New York: Verso, 2005, pp. 325)
*''Alien'' is thus virtually a film version or translation of "Black Destroyer". (Van Vogt is not credited, and as it turns out he sued the film-makers for plagiarism; the latter settling out of court.)
</ref> In 1950 it was combined with "War of Nerves" (1950), "Discord in Scarlet" (1939) and "M33 in Andromeda" (1943) to form the novel ''[[The Voyage of the Space Beagle]]'' (1950).
</ref> In 1950 it was combined with "War of Nerves" (1950), "Discord in Scarlet" (1939) and "M33 in Andromeda" (1943) to form the novel ''[[The Voyage of the Space Beagle]]'' (1950).


Revision as of 19:32, 18 October 2010

Alfred Elton van Vogt
Pen nameA. E. van Vogt
Occupationnovelist, short story writer
NationalityCanada
GenreScience fiction
Literary movementGolden Age of Science Fiction
SpouseEdna Mayne Hull (1939–1975)
Lydia van Vogt
Signature

Alfred Elton van Vogt (April 26, 1912 – January 26, 2000) was a Canadian-born science fiction author regarded by some as one of the most popular and complex[1] science fiction writers of the mid-twentieth century: the "Golden Age" of the genre.

Early life and writings

Van Vogt was born on a farm in Edenburg, a Russian Mennonite community east of Gretna, Manitoba, Canada. Until the age of four a dialect of Dutch was spoken in his home.[2] Van Vogt's father, a lawyer, moved his family several times and his son found these moves difficult, remarking in later life:

Childhood was a terrible period for me. I was like a ship without anchor being swept along through darkness in a storm. Again and again I sought shelter, only to be forced out of it by something new.[2]

After starting his writing career by writing for "true confession" style pulp magazines like True Story, van Vogt decided to switch to writing something he enjoyed, science fiction.[3]

Van Vogt's first published SF story, "Black Destroyer" (Astounding Science Fiction, July 1939), was inspired by Voyage of the Beagle by Charles Darwin.[4] The story depicted a fierce, carnivorous alien stalking the crew of an exploration spaceship. It was the cover story [5] of the issue of Astounding that is sometimes described as having ushered in the "Golden Age" of science fiction.[6] The story served as the inspiration for a number of science fiction movies.[note 1] In 1950 it was combined with "War of Nerves" (1950), "Discord in Scarlet" (1939) and "M33 in Andromeda" (1943) to form the novel The Voyage of the Space Beagle (1950).

In 1941, van Vogt decided to become a full-time writer, quitting his job at the Canadian Department of National Defence. Extremely prolific for a few years, van Vogt wrote a large number of short stories. In the 1950s, many of them were retrospectively patched together into novels, or "fixups" as he called them, a term which entered the vocabulary of science fiction criticism. When the original stories were related (e.g. The War against the Rull) this was often successful. When not (e.g. Quest for the Future) the disparate stories thrown together generally made for a less coherent plot.

One of van Vogt's best-known novels of this period is Slan, which was originally serialised in Astounding Science Fiction (September - December 1940). Using what became one of van Vogt's recurring themes, it told the story of a 9-year-old superman living in a world in which his kind are slain by Homo sapiens.

Post-war philosophy

In 1944, van Vogt moved to Hollywood, California, where his writing took on new dimensions after World War II. Van Vogt was always interested in the idea of all-encompassing systems of knowledge (akin to modern meta-systems) -- the characters in his very first story used a system called 'Nexialism' to analyze the alien's behaviour, and he became interested in the General Semantics of Alfred Korzybski.

He subsequently wrote three novels merging these overarching themes, The World of Null-A and The Pawns of Null-A in the late 1940s, and Null-A Three in the early 1980s. Null-A, or non-Aristotelian logic, refers to the capacity for, and practice of, using intuitive, inductive reasoning (compare fuzzy logic), rather than reflexive, or conditioned, deductive reasoning.

Van Vogt was also profoundly affected by revelations of totalitarian police states that emerged after World War II. He wrote a mainstream novel that was set in Communist China, The Violent Man (1962); he said that to research this book he had read 100 books about China. Into this book he incorporated his view of "the violent male type", which he described as a "man who had to be right", a man who "instantly attracts women" and who he said were the men who "run the world".[7]

At the same time, in his fiction, van Vogt was consistently sympathetic to absolute monarchy as a form of government.[8] This was the case, for instance, in the Weapon Shop series, the Mixed Men series and in single stories such as "Heir Apparent", whose protagonist was described as a "benevolent dictator".

Van Vogt systematized his writing method, using scenes of 800 words or so where a new complication was added or something resolved. Several of his stories hinge upon temporal conundra, a favorite theme. He stated that he acquired many of his writing techniques from three books, "Narrative Technique" by Thomas Uzzell, and "The Only Two Ways to Write a Story" plus "Twenty Problems of the Short-Story Writer", both by John Gallishaw.[9]

He said many of his ideas came from dreams; throughout his writing life he arranged to be awakened every 90 minutes during his sleep period so he could write down his dreams.[10]

In the 1950s, van Vogt briefly became involved in L. Ron Hubbard's projects. Van Vogt operated a storefront for Dianetics, the secular precursor to Hubbard's Church of Scientology, in the Los Angeles area for a time, before winding up at odds with Hubbard and his methods. His writing more or less stopped for some years, a period in which he bitterly claimed to have been harassed and intimidated by Hubbard's followers. In this period he was limited to collecting old short stories to form notable fixups like: The Mixed Men (1952), The War Against the Rull (1959), The Beast (1963) and the two novels of the "Linn" cyle, which were inspired (like Asimov's Foundation series) by the fall of the Roman Empire. He resumed writing again in the 1960s, mainly at Frederik Pohl's invitation, while remaining in Hollywood with his second wife, Lydia Bereginsky, who cared for him through his declining years. In this later period, his novels were conceived and written as unitary works. On January 26, 2000, van Vogt died in Los Angeles, USA from Alzheimer's disease.

Critical reception

Critical opinion about the quality of van Vogt's work has been sharply divided.

An early and articulate critic was the noted author Damon Knight. In a chapter-long essay in In Search of Wonder,[8] entitled "Cosmic Jerrybuilder: A. E. van Vogt", Knight famously remarked that van Vogt "is no giant; he is a pygmy who has learned to operate an overgrown typewriter." Knight described The World of Null-A as "one of the worst allegedly-adult science fiction stories ever published." About van Vogt's writing in general, Knight said:

In general van Vogt seems to me to fail consistently as a writer in these elementary ways: 1. His plots do not bear examination. 2. His choice of words and his sentence-structure are fumbling and insensitive. 3. He is unable either to visualize a scene or to make a character seem real.

About Empire of the Atom Knight wrote:

If you can only throw your reasoning powers out of gear - something many van Vogt fans find easy to do - you'll enjoy this one.

Knight also expressed misgivings about van Vogt's politics, noting that his stories almost invariably present absolute monarchism in a favorable light.

On the other hand, when science fiction author Philip K. Dick was asked [11] which science fiction writers had influenced his work the most, he replied:

I started reading sf when I was about twelve and I read all I could, so any author who was writing about that time, I read. But there's no doubt who got me off originally and that was A.E. van Vogt. There was in van Vogt's writing a mysterious quality, and this was especially true in The World of Null A. All the parts of that book did not add up; all the ingredients did not make a coherency. Now some people are put off by that. They think that's sloppy and wrong, but the thing that fascinated me so much was that this resembled reality more than anybody else's writing inside or outside science fiction.

Dick also defended van Vogt against Damon Knight’s criticisms:

Damon feels that it's bad artistry when you build those funky universes where people fall through the floor. It's like he's viewing a story the way a building inspector would when he's building your house. But reality really is a mess, and yet it's exciting. The basic thing is, how frightened are you of chaos? And how happy are you with order? Van Vogt influenced me so much because he made me appreciate a mysterious chaotic quality in the universe which is not to be feared.

In a review of Transfinite: The Essential A.E. van Vogt, science fiction writer Paul Di Filippo said:

Van Vogt knew precisely what he was doing in all areas of his fiction writing. There's hardly a wasted word in his stories... His plots are marvels of interlocking pieces, often ending in real surprises and shocks, genuine paradigm shifts, which are among the hardest conceptions to depict. And the intellectual material of his fictions, the conceits and tossed-off observations on culture and human and alien behavior, reflect a probing mind...Each tale contains a new angle, a unique slant, that makes it stand out.[12]

In The John W. Campbell Letters, Campbell says, "The son-of-a-gun gets hold of you in the first paragraph, ties a knot around you, and keeps it tied in every paragraph thereafter—including the ultimate last one."[7][13]

Harlan Ellison (who began reading van Vogt as a teenager[14] wrote, "Van was the first writer to shine light on the restricted ways in which I had been taught to view the universe and the human condition."[7]

Writing in 1984 David Hartwell said[15]:

No one has taken van Vogt seriously as a writer for a long time. Yet he has been read and still is. What no one seems to have notices is that van Vogt, more than any other single SF writer, is the conduit through which the energy of Gernsbackian, primitive wonder stories have been transmitted through the Campbellian age, when earlier styles of SF were otherwise rejected, and on into SF of the present.

The literary critic Leslie A. Fiedler said something similar:[16]

Van Vogt is a test case, … since an apology for or analysis of science fiction which fails to come to terms with his appeal and major importance, defends of defines the genre by falsifying it.

Nevertheless, van Vogt still has his critics. For example Darrell Schweitzer writing to the New York Review of Science Fiction in 1999[17] quoted a passage from the original van Vogt novelet “The Mixed Men”, which he was then reading, and remarked:

This is the realism, and logic, of a small boy playing with toy soldiers in a sandbox. I’m tougher than you. I’ve got a billion spaceships! They’re brand-new. They only took 800 years to develop. And this is a story in which most of the cast either have two brains or are really robots … and even the emotions of the human characters are programmed or deprogrammed as part of plots within counterplots. Next to this, Doc Smith was an icy realist. There is no intersection with adult reality at any point, for all van Vogt was able to write was that small boy’s sandbox game with an adult level of intensity. This is, I think, the secret of van Vogt’s bizarre fascination, as awful as his actual writing might be, and why he appealed so strongly to Philip K. Dick, who managed to put more adult characters and emotions into equally crazy situations. It’s ultimately very strange to find this sort of writing so prominently sponsored by supposedly rational and scientifically minded John W. Campbell, when it seems to contravene everything the Golden Age stood for.

Recognition

In 1946, van Vogt and his first wife, Edna Mayne Hull, were co-Guests of Honor at the fourth World Science Fiction Convention.[18]

In 1980, van Vogt received a "Casper Award" (precursor to the Canadian Aurora Awards) for Lifetime Achievement.[19] In 1995 he was awarded the Damon Knight Memorial Grand Master Award by the Science Fiction Writers of America (SFWA). There was controversy over how late in van Vogt’s lifetime the SFWA left it to bestow their highest award. Writing an obituary of van Vogt a fellow Canadian writer of science fiction remarked:

”There was no doubt that van Vogt should have received this honor much earlier — the injustice of him being overlooked, at least in part because of damnable SFWA politics, had so incensed Harlan Ellison, a man with an impeccable moral compass, that he'd lobbied hard on the Sci-Fi Channel and elsewhere on van Vogt's behalf.”[20]

It is generally held that the “damnable SFWA politics” relates to Damon Knight, the founder of the SFWA, who abhorred van Vogt’s style and politics and thoroughly demolished his literary reputation in the 1950s.[21]

Harlan Ellison writing in 1999 the introduction[14] to Futures Past: The Best Short Fiction of A.E. van Vogt was more explicit:

" ... at least I was able to make enough noise to get Van the Science Fiction Writers of America Grand Master Award, which was presented to him in full ceremony during one of the last moments when he was cogent and clearheaded enough to understand that finally, at last, dragged kicking and screaming to honor him, the generation that learned from what he did and what he had created had, at last, 'fessed up to his importance."
”… were the same ones who assured me that Van would never get the Grand Master until Damon Knight had gotten it first, because Damon had loathed Van's work and had, in fact written the essay that ridiculed Van and held him up to opprobrium for decades thereafter, and Damon having founded SFWA it would be an affront to him if Van got it first. Well, I don't know if that's true or not, thought is was common coin in the field for years; but Damon got the Grand Master award in 1994. And Van got it in 1995. As they say during sweeps week on television: coincidence or conspiracy?”

In 1996, van Vogt was recognized on two occasions: the World Science Fiction Convention presented him with a Special Award for six decades of golden age science fiction, and the Science Fiction and Fantasy Hall of Fame included him among its initial four inductees.

The works of van Vogt were translated into French by the surrealist Boris Vian (The World of Null-A as Le Monde des Å in 1958), and van Vogt’s works were “viewed as great literature of the surrealist school”.[22]

Notable quotes

Concerning Theodore Sturgeon's death, van Vogt commented:

Sturgeon had accepted the idea of dying. I thought: 'Well, I presume that when my time comes, it will also happen to me.' Because, we recognize that there is an end to human life. Now, it is my intention to postpone this moment as long as possible. But, I have only modern science to help me and they're not that busy...[7]

Bibliography

Novels

(dates given are for the first publication in book form)

Collections

  • Out of the Unknown (1948), with Edna Mayne Hull
  • Masters of Time (1950)
  • Away and Beyond (1952)
  • The Mixed Men (1952), also published as Mission to the Stars
  • Destination: Universe! (1952)
  • The Far-Out Worlds of A. E. van Vogt (1956)
  • Monsters (1965)
  • The Van Vogt Omnibus (1967), omnibus
  • The Sea Thing and Other Stories (1970)
  • M33 in Andromeda (1971)
  • More Than Superhuman (1971)
  • The Proxy Intelligence and Other Mind Benders (1971), revised as The Gryb (1976), with Edna Mayne Hull
  • The Van Vogt Omnibus 2 (1971), omnibus
  • The Book of Van Vogt (1972), also published as Lost: Fifty Suns (1979)
  • Far Out Worlds of Van Vogt (1973)
  • The Three Eyes of Evil Including Earth's Last Fortress (1973)
  • The Best of A. E. van Vogt (1974)
  • The Worlds of A. E. van Vogt (1974)
  • Pendulum (1978)
  • Futures Past: The Best Short Fiction of A.E. Van Vogt (1999)
  • Transfinite: The Essential A.E. van Vogt (2002)
  • Transgalactic (2006)

Non-fiction

  • The Hypnotism Handbook (1956, Griffin Publishing Company, with Charles Edward Cooke)
  • The Money Personality (1972, Parker Publishing Company Inc, West Nyack, NY, ISBN 0-13-600676-0)
  • Reflections of A. E. Van Vogt: The Autobiography of a Science Fiction Giant (1979, Fictioneer Books Ltd, Lakemont, GA)
  • A Report on the Violent Male (1992, Paupers' Press, UK, ISBN 0-946650-40-3)
Notes
  1. ^ (a) Pringle, David (1990) "The Ultimate Guide to Science Fiction", Grafton Books, page 346.
    • "This [The voyage of the Space Beagle] is the classic 'bug-eyed monster' novel, the unacknowledged inspiration for the film Alien and scores of similar"
    (b) Hughes, Aaron "Neglected Masters Book Review" retrieved 2010-09-09
    • "The stories collected in The Voyage of the Space Beagle were perhaps the first to chronicle the adventures of the crew of a large, military-style starship exploring the universe, and doubtless influenced Gene Roddenberry strongly when he created Star Trek."
    • "One of the Space Beagle stories purportedly inspired the movie Alien - the resemblance was great enough that van Vogt brought a lawsuit against the filmmakers, which reportedly settled for a $50,000 payment."
    (c) Walters, Trent "Oh, the Humanity of A.E. van Vogt's Monsters: Reorienting Critics and Readers to the van Vogt Method" retrieved 2010-09-09
    • "... The Voyage Of The Space Beagle (1950), later inspired the original Star Trek series and the movie Alien."
    (d) Jonas, Gerald (2000) "A. E. van Vogt, 87, Forceful Science-Fiction Voice", New York Times obituary, 2000-02-04
    • " 'Black Destroyer' has been cited as the inspiration for the movie Alien and its many sequels and imitations"
    (e) Jameson, Fredric. Archaeologies of the Future. The Desire Called Utopia and Other Science Fictions (New York: Verso, 2005, pp. 325)
    • Alien is thus virtually a film version or translation of "Black Destroyer". (Van Vogt is not credited, and as it turns out he sued the film-makers for plagiarism; the latter settling out of court.)

References

  1. ^ "Although [van Vogt] catered for the pulps, he intensified the emotional impact and complexity of the stories they would bear[.]" Clute, John & Nicholls, Peter (ed.). The Encyclopedia of Science Fiction. New York: St. Martin's Press, Inc. p. 1268. ISBN 0-312-13486-X. {{cite book}}: Unknown parameter |origdate= ignored (|orig-date= suggested) (help)CS1 maint: multiple names: editors list (link).
  2. ^ a b Panshin, Alexei “Man Beyond Man. The Early Stories of A. E. van Vogt” page 1 Retrieved on 2010-08-29
  3. ^ Elliot, Jeffery: “An Interview with A. E. Van Vogt”, Science Fiction Review #23, 1977. Available online http://www.angelfire.com/art/megathink/vanvogt/vanvogt_interview.html Retrieved on 2010-08-29
  4. ^ Drake, H. L.: "A. E. van Vogt: Science Fantasy's Icon", page 36, Booklocker.com Inc, 2001.
  5. ^ Panshin, Alexei (1994) “Introduction to Slan”, The Easton press, Connecticut, USA. Available on-line http://vanvogt.www4.mmedia.is/intoslan.htm “His first published SF story was "Black Destroyer" in the July 1939 Astounding, … Not only was "Black Destroyer" pictured on the cover of the magazine, but it would be recognized as one of the most significant stories published in Astounding that year.” Image of Astounding cover
  6. ^ For example, Peter Nicholls (Clute, John & Nicholls, Peter (ed.). The Encyclopedia of Science Fiction. New York: St. Martin's Press, Inc. p. 199. ISBN 0-312-09618-6. {{cite book}}: Unknown parameter |origdate= ignored (|orig-date= suggested) (help)CS1 maint: multiple names: editors list (link)) says "The beginning of Campbell's particular Golden Age of SF can be pinpointed as the summer of 1939," and goes on to begin the discussion with the July 1939 issue. Lester del Rey (del Rey, Lester (1979). The World of Science Fiction and Fantasy: The History of a Subculture. New York: Ballantine Books. p. 94. ISBN 0-345-25452-X.) comments that "July was the turning point".
  7. ^ a b c d Drake, Harold L. (1989). The Null-A Worlds of A.E. van Vogt. C. Drumm Books. ISBN 0936005543X. {{cite book}}: Check |isbn= value: length (help)
  8. ^ a b Knight, Damon (1967). In Search of Wonder. Chicago: Advent.
  9. ^ Alexei Panshin, The Abyss of Wonder, Man Beyond Man, The Early Stories of A. E. van Vogt.
  10. ^ Charles Platt, Who Writes SF? Savoy Books, 1980.
  11. ^ Vertex, Vol. 1, no. 6, February 1974, available on-line http://www.philipkdick.com/media_vertex.html
  12. ^ DiFilippo, Paul: "Off The Shelf",[dead link]Retrieved 2003-1-19
  13. ^ Campbell, John W. (1991). The John W. Campbell Letters With Isaac Asimov and A.E. van Vogt, Volume 2. A.C.Projects. ISBN 0931150191.
  14. ^ a b Ellison, Harlan “Van is Here, But Van is Gone” Retrieved 2001-08-31 “Van is still with us, as I write this, in June of 1999, slightly less than fifty years since I first encountered van Vogt prose in a January 1950 issue of ‘’Startling Stories’’,....”
  15. ^ Hartwell, David (1984) “Age of Wonders: Exploring the Worlds of Science Fiction”, New York, Walker, Page 131-132. ISBN 9780893661632
  16. ^ Fiedler, Leslie A. (1983) “The Criticism of Science Fiction”, Coordinates: Placing Science Fiction and Fantasy, ed. George E. Slusser, Eric S. Rabkin, and Robert Scholes (Carbondale Southern Illinoois University Press, page 10-11. ISBN 9780809311057
  17. ^ Schweitzer, Darrell (1999) “Letters of Comment”, New York Review of Science Fiction, May 1999, Number 129, Vol. 11, No. 9.
  18. ^ Beetz, Kirk H. (1996). Beacham's Encyclopedia of Popular Fiction. Beacham Publishing. ISBN 0933833385.
  19. ^ Mullin, Dennis (October 27, 2007). "Prix AURORA Awards". Canadian Science Fiction and Fantasy Association. Retrieved 2008-05-02.
  20. ^ Sawyer, Robert J. “Remembering A. E. van Vogt “ Retrieved 2010-08-31
  21. ^ Hartwell, David: “The Way We Were: A. E. van Vogt, 1912-2000”, page 24, New York Review of Science Fiction, March 2000, Number 139, Vol. 12, No.7
  22. ^ Watson, Ian (1999) “Science Fiction, Surrealism, and Shamanism”, page 9, New York Review of Science Fiction, June 1999, Number 130, Vol. 11, No. 10

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