Occasionally - when I reflect on the past - a few familiar faces pop into my mind and I am inclined to fondly recall old memories and good times.
This is particularly so, when I recall my friendship with Judith Merril.
A writer, editor, and critic, Merril was a major figure in the field of Science Fiction.
In the late 1960's, citing what she called - "the undemocratic suppression of anti-war activities by the U.S. government" - she moved to Canada to take up residence at Rochdale College.
When I was 17, I attended the controversial free college which was situated right smack dab in downtown Toronto.
At the time, the experimental school attracted a number of artists, musicians, and forward-thinking individuals.
So, when Judith Merril immigrated to Toronto (with a few draft-dodger friends in tow) in 1968, she chose 341 Bloor Street West as the place to alight.
Rochdale was not only an educational institution which focused on the arts and the humanities, but one which celebrated the very idea that the daily routine - itself - should be a vital living and breathing learning experience.
For this reason, Ashram accommodations were set up to encourage communal living.
By way of a shared common-room, communal kitchen, and unisex bathroom facilities, students were pressed into close quarters and forced to learn how to achieve balance and harmony in their day-to-day relationships with their peers.
In the early days, Rochdale prospered. In fact, it was a thriving, energetic, creative hub in one of Canada's fastest growing cities.
Theatre Passé Muraille - one of the most celebrated Theatre companies on the Eastern Seaboard - sprang from these humble origins - as did Coach House Press and a host of promising young authors in its charge.
I flourished at Rochdale, too.
In fact, when Time Magazine appeared one day to pen an article on the controversial college, they were so taken aback with my "cave" that they instructed the photographer to capture the unique setting on film to head up the feature.
Frankly, I was flattered; after all, Raquel Welch - the screen siren - was scheduled to appear on the cover of that issue.
In a short while, Ms. Merril settled into the Canadian way of life and soon became revered as a national treasure, of sorts.
As I recall, Judith was a bright articulate woman.
There was not only a beautiful light in her soulful eyes, but a persistent charismatic glow which constantly emanated from her sentient being.
The woman loved Jazz, chatting up friends, and being a part of the vital local scene populated by the top intellectuals of the era.
One day, it dawned on Judith that her collection of books had great value and should be shared. So, she donated the whole kit 'n kaboodle - about 5,000 books in all - to the Toronto Public Library.
Originally called the "Spaced out Library" - there are many connotations, I know - it was later renamed:
"The Merril Collection of Science Fiction, Speculation and Fantasy"
Her own highly-lauded literary works included: Shadow on the Hearth (1950), Daughters of Earth (1968), and Survival Ship and Other Stories (1973).
Known as - "The little Mother of Science Fiction" - Judith Merril burst onto the New York literary scene in 1948 with a disturbing story about nuclear radiation.
Merril’s contribution to science fiction was summed up author J. G. Ballard (Crash and Empire of the Sun) in 1992:
"Science fiction, I suspect, is now dead, and probably died about the time that Judy closed her anthology and left to found her memorial library to the genre in Toronto. I remember my last sight of her, surrounded by her friends and all the books she loved, shouting me down whenever I tried to argue with her, the strongest woman in a genre for the most part created by timid and weak men."
Judith - without doubt - was one of the first ball** ladies to make it in a man's world five decades ago!
Her writing reflected her passionate convictions; in fact, her inventive stories were rife with images of strong women and a society ripe with all its possibilities.
An admiring colleague once noted,
"Few people have the strength of will to act upon their beliefs, however deeply felt, but Judy did and in spades. She brought intelligence, wit, and relentless determination to every cause she espoused, and those causes were numerous and varied."
In "The Year's Best SF: 11th Annual Edition (1966)" Judith wrote,
"We erect tombstones for our dead relatives and build monuments to our dead leaders. When a beloved writer dies, we read his works, again. A writer, if what he says is worth the hearing, and if his skill is sufficient to make it worth hearing twice, builds his own memorial while he lives."
Although she was referring to Shirley Jackson, a colleague, many thought the sentiments - rightly so - were poignant thoughts that expressed best how many felt about Ms. Merrill herself.
One close friend confided,
"Judy touched the souls of countless people over the years and whether that touch was tender or a swift kick to one's motivational backside, it was always honest and honestly intended to help rather than harm."
And, her contribution to the science fiction community was exceptional.
In that capacity, she wore a number of hats: author, editor, teacher, media commentator, and upstart - too!
She nearly earned the title - "foster mother" - as well.
In the spring of that year when a negative element started to creep into the Rochdale, a number of artists started to move on.
Shortly after situating in a comfy little home in an up-and-coming section of town known as "Cabbage Town", Judith offered to be my foster parent since I was still a Ward of the State and not yet eighteen years old.
What an amazing thought!
My social worker toyed with the idea - but undoubtedly wrung his hands over the idea - sure the free-spirited bohemian Merril might liberate me to the point of no return.
Fortunately - for him - I opted to "Go West" with a handful of friends that spring and he was not forced to make a decision on the issue.
When I hopped into the VW bug to commence the long jaunt out to Vancouver (B.C.), I saw Judith's face for the last time as she merrily waved good-bye!
The image shall remain etched in my mind forever.
In 1976, Judy became a Canadian Citizen.
Shortly thereafter, she became active in the Writers' Union (Toronto Chapter).
At an annual Union meeting when members questioned whether people should write about other genders and ethnic groups, she allegedly exclaimed,
"Who will speak for the aliens?"
The debate was closed.
It's worthy to note that in her editorial introductions to books, talks and other writings - she actively argued that science fiction should not be isolated - but become part of the literary mainstream.
For a short period, Judith starred as the introducer ("the UnDoctor") for the Canadian offering "Doctor Who" (1978-1981). In broadcasts about six or seven minutes in duration, she presented short philosophical commentaries on the show's themes.
The Science Fiction and Fantasy Writers of America (renamed SFWA) made Merril its Author Emeritus for 1997.
Sadly, shortly thereafter, on Sept 12, 1997 - approximately twenty years after I first crossed paths with the "little mother" - Ms. Merril passed away of heart failure.
In contemplation of her death, she bequeathed a sizable sum of money to hold a celebratory memorial party at Toronto's Bamboo Club.
Ah, always the organizer, to the very end.
According to astute observers, Merril, "encouraged careers", "rattled more than a few cages", and "challenged many to look outside themselves and the world from a myriad of viewpoints".
Oh yes, she could jolt a person out of complacency with her powerful facility for words, which was a rare and precious gift.
Judith was a vibrant spirit, indeed.
Her intriguing personal life and illustrious career - which spanned thirty years - was filled with many fascinating twists and turns and highlights.
Ms. Merrill was born Josephine Judith Grossman in New York on January 21st to Schlomo S. and Ethel Hurwitch Grossman.
After her father's suicide during her grade-school years, her mother found a job at Bronx House - at which point - the family moved to a borough outside New York City.
Shortly thereafter, Merril's life was a spawning ground for alternative cultural and political movements.
For example, Judith first discovered the Trotskyite group - "The Young People's Socialist League" - in the late 1930's and became a member.
Later on, when her husband was in the army, Judith became involved with the Futurian Society. Other celebrated members included Isaac Asimov and Frederick Pohl.
Judith then landed a post as an editor at Bantam Books (1947-1949).
"That Only a Mother" was then published in "Astounding" in 1948.
"Mother" dealt with the issues of nuclear power and maternal love.
Concern about nuclear power, weapons, and war was an increasingly common theme in science fiction throughout the 40s-50s, but Merril handled the subject with her own inimitable style which won her a number of accolades.
As a result, Merril became a giant in the field of science fiction - proof positive that women were not only able to make strides in the arena - but capable of making important contributions to literature.
Ms. Merril's first anthology - "Shot in the Dark" - was published by Bantam in 1948. And, her first novel - "Shadow on the Hearth" - was later published by Doubleday.
With her career in full swing - she, Damon Knight and James Blish - proceeded to organize the first "Milford Science Fiction Writers Conference".
The conference became an annual event.
At this juncture - the first edition of "SF: The Year's Greatest" (an anthology) - was edited by Judith and summarily published to wide acclaim.
The annual series continued to publish for eleven volumes and displayed - according to critics - "a daringly eclectic taste that published work from outside the standard boundaries of the genre."
In 1965, the career plaudits continued; Judith, for instance, began tenure as a "Books" columnist for "The Magazine of Fantasy and Science Fiction" (until 1969).
For a brief period, Judith followed up with a bit of a sabbatical. On a year-long stay in England, she gathered material for the "New Wave" anthology of works titled - "England Swings SF" - which was aimed at championing experimental fiction and stylistic innovation in the field.
In 2005, Science fiction scholar Rob Latham noted,
"Throughout the 1950s, Merril, along with fellow SF authors James Blish and Damon Knight, had taken the lead in promoting higher literary standards and a greater sense of professionalism within the field"...especially by establishing an annual series of writers' conferences in Milford, Pennsylvania, where Merril then lived. Manuscripts were workshopped at these avid gatherings, thus encouraging more care in the planning of stories, and a sense of solidarity was promoted, eventually leading to the formation of the Science Fiction Writers Association".
However, he did not ignore the fact that several - "disaffected authors began griping about a 'Milford Mafia' that was endangering SF's unique virtues by imposing literary standards essentially alien to the field".
Undoubtedly, those were "the cages" - people spoke of - that Judith rattled!
Poor babies...
In addition to being a founding member of the Science Fiction Research Association, she was active with the "Voice of Women", "Mensa", the "Futurians", the "Hydra Club" (founding member), "21 McGill Women's Club" (Toronto, founding member); "Elves, Gnomes & Little Men Chowder & Marching Society" (Honorary Member); and the "Witchdoctors" Club (NYC).
She was a remarkable dynamic woman - one-of-kind - and I miss her dearly!
Bibliography (partial)
Novel: Shadow on the Hearth, 1950
Novel: Gunner Cade (writing with C. M. Kornbluth as 'Cyril Judd')
Collection: Daughters of Earth and Other Stories
Collection: Survival Ship and Other Stories 1973
Collection: The Best of Judith Merril, 1976 ISBN 0-446-86058-1
Short story: That Only a Mother, 1948
Anthology: The Year's Best S-F, 1st-11th, 1956-1966
Anthology: SF12, 1967
Collection: Homecalling and Other Stories: The Complete Solo Short SF of Judith Merril, Edited by Elisabeth Carey 2005 NESFA Press ISBN 1-886778-54-X
Anthology: Tesseracts (editor)
