The Elusive Volumes of Jack Vance
by Leon J. Janzencopyright 1994 Gregg Parmentier 2018 Waterfront Dr #137 Iowa City, IA 52240 parmentier@iowasp.physics.uiowa.eduThe Vance Phile can be freely copied, but cannot be posted to any public access system, service, or BBS without specific, permission . . . and some restrictions.
This issue continues Leon J. Janzen's series The Elusive Volumes of Jack Vance, this time on The Languages of Pao, and contains a very extensive bibliography of Vance's works which have been translated into Dutch. About 90% of Vance's work has been translated to Dutch, Throy actually came out in the Netherlands before the Tor hardcover in the US!
I'd like to thank Patrick Neilsen Hayden for giving me permission to use the Tor covers of books reviewed, even if he wasn't sure it was needed. Right now, because of size limitations, only printed editions will have illustrations (cover art to go with The Elusive Volumes). If you want a printed edition in the US, you'll need to send me $3 to cover printing and shipping costs, overseas it will be $1.50US plus shipping. These editions will have black and white illustrations. There are a few people who get printed copies anyway, but I consider them special cases (yes, you guys).
I've also been sending ten signed editions and a bunch of hardcopy editions to Chuck Miller at Underwood-Miller every issue. He's been adding them to outgoing packages containing Vance's books. I'm glad he's taken the time to keep them on hand and send them out.
I had added a quick note to the email version of issue #2, and I'll mention it again now for anyone who missed it: According to the August 1993 issue of Locus, Vance has sold two new novels to Beth Meacham at Tor, Ports of Call and Night Lamp. I hope to have more news on these in the next issue.
I was pleased to be able to get the masthead Leon's brother Jack made him for his Elusive Volumes series put into the postscript and printed copies. It's not quite how Jack and Leon had laid it out, but I'm sure it's close enough that they'll be as pleased as I am to have it in. Pretty good, the brother of my first article submitter submits the first art work, and they go together!
Well, not much more for page one, other than my expected appeal for any donations any of you fine folk want to make toward offsetting some of my costs of putting this together.
Also the expected appeal for more submissions of articles to fill these pages. My ghod, but that Dutch bibliography turned into a monster, so I didn't need anything more in this issue.
The Elusive Volumes of Jack Vance
by Leon J. Janzen
We've all got our treasured reasons for returning regularly to the works of Jack Vance. His addictive stories offer environments tangible in their detail, with strange textures and flavors, and people (human and otherwise) who are cynical, unsympathetic and predatory. Vance assembles his worlds with his words in a style considered completely unique by his readers. Most of his books have a main character moving within a fully realized alien society ... and if Vance's hero is not overly defined, his culture and the terrain he traverses will be visualized to everyone's satisfaction. Simple but realistic emotions (usually fear, greed, and the need to outwit each other) serve to describe the merchants and officials, kings and commoners which populate Vance's worlds. Examples of Vance's complex creativity are found in the locales and communities where these activities are played out. Planets and their peoples may live, die, or are enslaved because of some condition central to the story ... the pervasive spread of ancient magic, a strange and restrictive religous priesthood, or the absence of a necessity like metal. Plots and courses of action are driven not by a hero's inner motives but by his reaction to some wrong or deprivation; such as unfair trade barriers, withheld technologies, or the evil workings of a large organization. In Vance's most enjoyable books, these delicate arrangements between peoples and their oppressive living conditions become vulnerable targets. First we come to understand them, since Vance provides both the logic and lush details of their workings, then we see them ruthlessly explode as the hero locates and exploits the Achilles Heel within...
The Languages of Pao, one of Jack Vance's less heralded novels, is an extreme example of this kind of story. It reads differently than the prose we're accustomed to because it's such a simplified how to manual on the subject of shaping communities through communication. Most Vance stories are filled with rich descriptions of strange planets at ground level ... the colors and smells of the countryside, the customs, trades, and sports of folk in each village, the tonalities of their music, and the flavors of their foods ... but in Pao Vance instead describes from a distance a world which undergoes a vast and painful people-shaping process.
Pao is a world of 15 billion [thousand million to the Europeans] people who, because of their bland and passive language, are as undifferentiated a group as could be found in the human universe. Since their speech patterns allow little scope for debate, emotion, or competition, they are soon enslaved by a few thousand warriors from nearby planet Batmarsh. Eban Buzbek, Hetman of the Brumbo Clan, lands his hundred ships on Pao expecting an orgiastic assault and meets only token resistance ... "The populace watched him and his glory-flushed army with sullen eyes: none made any resistance, even when their property was taken and their women violated .. warfare ... was not in the Paonese character."
Lord Palafox, Domine of the Breakness Institute, is engaged to improve and strengthen Pao with a plan of immense scope. Paid with broods of young Paonese females and land holdings for his many sons, Palafox undertakes the re-shaping of the submissive Paonese in onegeneration. Continents of people are dislocated and forced to use specialized speech devised on planet Breakness. At the Breakness Institute, Pao's displaced leaderBeran is told: "Think of a language as the contour of a watershed, stopping flow in certain directions, channeling it into others. Language controls the mechanisms of your mind. When people speak different languages, their minds work differently and they act differently." Throughout The Languages of Pao we find Jack Vance explaining what must be some of his own feelings about the power of words as tools or weapons: "... to the military segment, a 'successful man' will be synonymous with 'winner of a fierce contest.' To the industrialist, it will mean 'efficient fabricator.' To the traders, it equates with 'a person irrresistably persuasive.' Such influences will pervade each of the languages..." We think such influences pervade many of Vance's other works.
Pao is a story with many examples of the realistic, indifferent cruelty often used by Vance as a backdrop or motivator for his storyline. The almost unthinkable devastation of people by the millions is mentioned in passing as Lord Palafox implements his schemes. The Paonese preferred method of execution, subaqueation... accomplished by weighting the feet of criminals (andexcess newborn children...) and dropping them into the sea ... is refered to casually several times. Jack Vance never glorifies or implies enjoyment of this harshness. He uses it in an unromantic manner, like a splash of cold water, to increase emotional contrast. Just once was pain made personal, as Beran ".. seated himself on a rotting bench under a low tree, and to his mind came sad images ... The solitude of astonished him. Across all the horizon, over a fertile land once thronged with population, there was now no movement other than the flight of birds. Millions of human beings had been removed, most to other continents, but others had preferred to lie with their ancestral earth over them..."
The Languages of Pao first appeared in the December, 1957, issue of Satellite Science Fiction, one of the digest-sized competitors of Galaxy at that time. Included with the brief 88 page version of the story were three line-drawings by Leo Morey showing the young Beran gravitating into the Paonese sky with Palafox, an arriving brood of women, and a modified Beran defeating Lord Palafox with a projection of blue fire from his fingertips. In 1958 a longer version (223 pages) was published by Avalon Books, New York, in an attractive hardback first edition. Bound in gray cloth, it has an orange and brown dustjacket painting by Ric Binkley showing Beran, the Panarch, on his Paonese throne. This book and it's companion by Avalon, Big Planet, are two of Vance's earliest cloth bound firsts and are extremely difficult to loate today. Science Fiction in the 50's was a young and frowned upon genre, almost always printed in paperback form. The infrequent hardback editions were supplied in limited quantities from small press companies like Avalon, Shasta, or Gnome Press.
The only other hardbound appearance of Pao was from our favorite small press publisher, Underwood-Miller, who brought out a hardback edition in July, 1979. One of the first of their Jack Vance volumes, beautifully bound and illustrated by Joe Pierson, there were only 500 copies made. The dustjacket depicts a sinister Lord Palafox overshadowed by one of Vace's grim neutraloid palace guards. In the twenty years between these two hardback appearances, a number of Ace paperback editions of Pao were available on the stands. The first (and nicest) is #F-390, an Ace single priced at 40 cents back in 1966. The text of this version says Complete and Unabridged next to the cover artwork by Gray Morrow. His painting is a colorful montage of the Breakness Institute, a squad of warriors from Brumbo, and a globe-clutching Palafox looking a lot like Ming the Merciless. The Languages of Pao tends to be austere in style and tidy in structure, and it provides one of Vance's most logical conclusions. He resolves the potent forces of violence, ambition, and revenge set in motion early in the book with a fitting ending that proves that language can be a sword with many edges. We're left with what must surely be a piece of Jack Vance philosophy ... that while words can be useful to those who know their power, they are chains that bind those who do not.
by Michael Shea
Because we're dealing here with another person writing within a literary universe not his own, this is a book which needs to be considered on three levels; how it works as a Vance clone, how it works as a Dying Earth book, and how it works as a novel. Keep in mind that this book was written in 1974 as a sequel to The Eyes of the Overworld and that it was written before Cugel's Saga, so it can't be consistant with the Dying Earth stories which come after it.
As a Vance clone it's spotty. I'm certain it's quite difficult to sustain the flavor of Vance's writing over the course of a full novel. A few places he comes quite close, and the dialog is almost always up to snuff. I can't easily imagine someone doing a better job than Shea has here for more than the length of a short story. Occasionally we are subjected to some sections which I think Vance would have handled quite differently, like the treatment of sex, but these are few and tasteful enough to cause little notice.
As a Dying Earth book it works much better, with one obvious exception. Early in the book Cugel agrees to become the vassal of Mumber Sull. He does this for obvious reasons, he's not likely to survive if he doesn't and he doesn't want to take a chance that Mumber Sull might withhold aid. Definitely this is true Cugel thought: agree to anything which advances your aims, you can always work out something later. Where the problem comes in is that Cugel maintains this act for a very long time without seriously offending the very righteous Mumber Sull and without taking off on his own at some point to carry out his own adgenda. Ignoring that, Shea paints a fine Dying Earth. Most of the denizens and locales, if not totally Vancean in flavor, are close enough for an easy read. As is the case with all of the Dying Earth books, each chapter is a segment of the journey which can stand by itself, a nice touch to further keep within the Vancean mold.
As a novel it was quite fun. Cugel is his normal irreverent, self-serving, arrogant self. He trods through others lives as if they don't matter with nary a backward glance. If you can suspend disbelief about his ability to act the squire, and don't expect it to be full-blown Vance through-out, the trip is quite enjoyable. Give it a try if you can find a copy!
There is a quality to these, which I like very much, but which I believe is responsible for most not being published until Tim Underwood and Chuck Miller came along, and for The Man in the Cage not being printed in the US in paperback, even though it won the Edgar Award.
Each immerses itself within a society, or a part of a society, which is far from the mainstream western norm. From a marketing standpoint, publishers don't want to publish something to which they don't feel their readers will relate. From my viewpoint, I was given the opportunity to taste the flavor of places in space and time which I couldn't experience any other way, but which existed.
Just as Vance makes his science fiction and fantasy realms come to life, he is able to do so with these situations. It's unfortunate that work of this quality gets passed by for some of what gets published. Jack's treatment is good enough to transcend the lack of mainstream appeal for me, and I would say this would be the case for most Vance fans. We should thank Tim and Chuck for publishing these gems.
by Jack Vance
This is the story of Betty Haverhill and the ocean voyage she decides to take after she relievedly flunks out of the Stanford pre-med program. Betty's father (her parents are divorced) agrees to pay her way, allowing her a trip to help broaden her horizons.
On the voyage someone is killing other passengers. Betty believes she knows who it is, but the strange circumstances along the way point toward her as the guilty party. Betty's view of the world changes a great deal over the course of the book and by the end she is very much a self-reliant person.
The varied characters, the interesting facets of the early sixties Central America, the flavor of an ocean voyage on a freighter, all blend nicely under Vance's pen. I also think Vance does a good job of portraying a female lead character. Something not often seen from male writers in the sixties.
As with all the other mysteries written by Vance, the language is not the archaic prose of the Dying Earth books, nor the colorful style of his SF books, but he holds my attention just the same. Regardless of the oramentation along the way, Vance is a wonderful journey. The Dark Ocean is well worth the time, and might be my favorite of his mysteries. Hopefully a library in your area was good enough to aquire a copy of this limited edition book.
by John Holbrook Vance
This is the story of Luellen Enright a small girl who is removed from the only home she knows, in Japan, when her missionary father is dying, to live with her aunt and uncle's family in San Francisco.
Much of this story gives background to Luellen's family, starting with her grandfather, and points out the pretentiousness of her aunt in vivid contrast to the simple life she had lived. It gives a small picture of Americans in Japan between the turn of the century and World War II. In typical Vancean fashion this picture picks no favorites and pulls no punches.
From the start Lulu has trouble with her new family, and when tragedy strikes, Lulu is sent off to the state home for girls. As a young woman she works to regain what should have been her legacy from her father and to determine the circumstances under which the tragedy occured.
Lulu as a young girl was quite precious, her cousins spoiled brats a few years her senior. She was quite the generous little girl, as opposed to her aunt's greed and manipulativeness. She was totally innocent, as opposed to her domineered uncle. These are Wonderful characterizations masterfully brought forth.
Lulu as a young woman has none of her youthful innocence, and she tracks down the circumstances of her youth with a wonderful precociousness and flair.
The book has a few problems involving some strange timings, but it is a fine read in spite of these.
by John Holbrook Vance
Paul Gunther, a welfare worker in Oakland, is murdered investigating cases of blackmail of welfare recipients. The police try to track down the mysterious Mr. Big who they feel is responsible.
Lieutenant George Shaw is in charge of the investigation and we are brought along the trail of Paul Gunther through his life, touching upon the Jazz community of Oakland as he moves toward his death, as we also follow Shaw through the course if his investigation. These two tracks converge to a resolution of the murder.
The places and personalities of this story are interesting, the beatnik culture of early sixties Oakland and Paul's attempts to fit it into his world picture cause for strange interactions. The blocks to his investigation which Lt Shaw comes across are contradictory, and most persons he interviews are definitely lying about different things, which makes his job considerably more difficult.
This book contains elements which Vance later used in some of his science fiction books and seeing them here is an interesting twist of things. All in all an interesting read with handles to the evolution of some of his science fiction ideas.
I'd like to thank the following people for doing all of the legwork for this. I was a bit far from the sources:-)
nomenclature for English titles: Title [year] = novel Title = shorter work nomenclature for Dutch edition listings: Title = novel or collection title Title (A) = anthology title Title (M) = magazine Title (O) = omnibus title (O) = omnibus with all titles on the cover *, **, ***, etc = different translations
Section 1: Reference list of all Jack Vance stories
Abercrombie Station Meulenhoff SF #112, Sulwens Planeet Bruna, 1988, De beste verhalen van Jack Vance Alfred's Ark Meulenhoff SF #136, Morreion The Anome [1973] Meulenhoff SF #100, Durdane (O) Araminta Station [1987] Meulenhoff SF #246 The Asutra [1974] Meulenhoff SF #100, Durdane (O) Assault on a City Meulenhoff SF #112, Sulwens Planeet The Augmented Agent Bad Ronald [1973] The Bagful of Dreams *Orbit (M), 1979 *Meulenhoff SF #155, Fata Morgana (A) **Meulenhoff SF #201, Cugel gewroken Big Planet [1957] Meulenhoff SF # 84, De drakenruiters (O) Meulenhoff SF #210 Birds Isle (See: Isle of Peril) The Blue World [1966] *Born # 22 **Meulenhoff SF #132, (O) **Meulenhoff SF #200, (O) **Meulenhoff, 1992 The Book of Dreams [1981] Meulenhoff SF #167 Meulenhoff SF #228, De Duivelsprinsen (O) Brain of the Galaxy Meulenhoff SF # 58, Telek (all printings) The Brains of Earth Meulenhoff SF #112, Sulwens Planeet The Brave Free Men [1973] Meulenhoff SF #100, Durdane (O) Cat Island The Cave in the Forest Meulenhoff SF # 80, De ogen van de Overwereld Chateau d'If Meulenhoff SF #136, Morreion Meulenhoff SF #294, De tempel van Han Cholwell's Chickens Cil Meulenhoff SF # 80, De ogen van de Overwereld City of the Chasch [1968] Meulenhoff SF # 16 Meulenhoff SF # 67, Tschai (O) Cosmic Hotfoot Meulenhoff SF #154, Slaven van de Klau Meulenhoff SF #198, Magnus Ridolph Coupe de Grace Scala, 1976, De wonderbaarlijke avonturen van Magnus Ridolph Meulenhoff SF #198, Magnus Ridolph Crusade to Alambar Meulenhoff SF #171, Alambar Crusade to Maxus (See: Crusade to Alambar) The Dark Ocean [1985] Dead Ahead Meulenhoff SF #171, Alambar The Deadly Isles [1969] The Devil on Salvation Bluff Meulenhoff SF #112, Sulwens Planeet Meulenhoff, 1982, Het laatste kasteel Meulenhoff SF #241, Het laatste kasteel The Dirdir [1969] Meulenhoff SF # 41 Meulenhoff SF # 67, Tschai (O) Dodkin's Job The Dogtown Tourist Agency Meulenhoff SF #132, (O) The Domains of Koryphon (See: The Grey Prince) Dover Spargill's Ghastly Floater DP! The Dragon Masters [1963] *Bruna Maraboe #6 **Meulenhoff SF # 84, De drakenruiters (O) **Meulenhoff SF-Kwadraten 4, 1983 **Zomer SF (A) The Dreamer (See: The Enchanted Princess) Dust of Far Suns (See: Sail 25) Ecce and Old Earth [1991] Meulenhoff SF #297 Ecological Onslaught (See: The World Between) Emphyrio [1969] Meulenhoff SF # 64 Meulenhoff SF #260, (O) The Enchanted Princess Meulenhoff SF #294, De tempel van Han The Eyes of the Overworld (See: Cil) The Face [1979] Meulenhoff SF #149 Meulenhoff SF #228, De Duivelsprinsen (O) Fader's Waft Meulenhoff SF #216, Rhialto de Schitterende First Star I See Tonight The Five Gold Bands [1953] Meulenhoff SF #104, (O) Four Hundred Blackbirds Zomer SF (A) The Four Johns [1964] Spectrum Prisma Detectives # 59 Spectrum Prisma Detectives #410 The Fox Valley Murders [1966] Freitzke's Turn Meulenhoff SF #171, Alambar Gateway to Strangeness (See: Sail 25) The Gift of Gab Meulenhoff SF # 58, Telek (all printings) Bruna, 1988, De beste verhalen van Jack Vance Golden Girl Meulenhoff SF #294, De tempel van Han Green Magic Alfa Een (A) Meulenhoff, 1982, Het laatste kasteel Meulenhoff SF #241, Het laatste kasteel The Grey Prince [1974] Meulenhoff SF #124, (O) Meulenhoff SF #200, (O) Guyal of Sfere Meulenhoff SF # 74, De stervende Aarde Meulenhoff SF #234, De stervende Aarde Hard Luck Diggings The Houses of Iszm [1964] Meulenhoff SF #104, (O) Meulenhoff SF #260, (O) The House on Lily Street [1979] The House Lords Meulenhoff SF #294, De tempel van Han The Howling Bounders Scala, 1976, De wonderbaarlijke avonturen van Magnus Ridolph Meulenhoff SF #198, Magnus Ridolph I-C-A BEM (See: The Augmented Agent) I'll Build Your Dream Castle Meulenhoff SF #171, Alambar Isle of Peril [1957] The Killing Machine [1964] Meulenhoff SF # 32 Meulenhoff SF # 83, (O) Meulenhoff SF #228, De Duivelsprinsen (O) The King of Thieves Scala, 1976, De wonderbaarlijke avonturen van Magnus Ridolph Meulenhoff SF #198, Magnus Ridolph The Kokod Warriors Scala, 1976, De wonderbaarlijke avonturen van Magnus Ridolph Meulenhoff SF #198, Magnus Ridolph The Kragen (See: The Blue World) The Languages of Pao [1958] Meulenhoff SF # 84, De drakenruiters (O) Meulenhoff SF #202 The Last Castle [1967] Meulenhoff SF # 74 Meulenhoff, 1982, Het laatste kasteel Meulenhoff SF #241, Het laatste kasteel Liane the Wayfarer Meulenhoff SF # 74, De stervende Aarde Meulenhoff SF #234, De stervende Aarde The Loom of Darkness See: Liane the Wayfarer Lyonesse I: Suldrun's Garden [1983] Meulenhoff SF #199 Lyonesse II: The Green Pearl [1985] Meulenhoff SF #212 Lyonesse III: Madouc [1990] Meulenhoff SF #255 The Madman Theory [1966] Spectrum Prisma Detectives #452 The Man From Zodiac Meulenhoff SF #154, Slaven van de Klau The Man in the Cage [1960] The Manse of Iucounu Meulenhoff SF # 80, De ogen van de Overwereld Marune: Alastor 933 [1975] *Scala, 1976 **Meulenhoff SF #182 * & **Meulenhoff SF #287, Alastor (O) (1990 edition uses Scala translation) (1991 edition uses MSF translation) Maske: Thaery [1976] Meulenhoff SF #127 The Masquerade on Dicantropus Mazirian the Magician Meulenhoff SF # 74, De stervende Aarde Meulenhoff SF #234, De stervende Aarde Meet Miss Universe Men of the Ten Books The Men Return Meulenhoff SF # 58, Telek (all printings) Meulenhoff, 1982, Het laatste kasteel Meulenhoff SF #241, Het laatste kasteel The Miracle-Workers Meulenhoff SF # 58, Telek (all but 1992) Bruna, 1988, De beste verhalen van Jack Vance The Mitr Meulenhoff SF #136, Morreion The Moon Moth Meulenhoff SF #112, Sulwens Planeet Meulenhoff, 1982, Het laatste kasteel Meulenhoff SF #241, Het laatste kasteel Morreion Meulenhoff SF #136, Morreion Meulenhoff SF #216, Rhialto de Schitterende Bruna, 1988, De beste verhalen van Jack Vance The Mountains of Magnatz Meulenhoff SF # 80, De ogen van de Overwereld The Murthe Meulenhoff SF #216, Rhialto de Schitterende The Narrow Land Meulenhoff SF #136, Morreion Meulenhoff, 1982, Het laatste kasteel Meulenhoff SF #241, Het laatste kasteel New Bodies for Old (See: Chateau d'If) The New Prime (See: Brain of the Galaxy) Noise Het verre Centaurus (A) Meulenhoff SF # 58, Telek (all printings) Bruna, 1988, De beste verhalen van Jack Vance Nopalgarth (See: The Brains of Earth) Overlords of Maxus (See: Crusade to Maxus) The Overworld Meulenhoff SF # 80, De ogen van de Overwereld The Palace of Love [1967] Meulenhoff SF # 60 Meulenhoff SF #228, De Duivelsprinsen (O) Parapsyche Meulenhoff SF #294, De tempel van Han Phalid's Fate Meulenhoff SF #294, De tempel van Han Phantom Milkman Meulenhoff SF #294, De tempel van Han The Pilgrims Meulenhoff SF # 80, De ogen van de Overwereld The Plagian Siphon (See: The Planet Machine) The Planet Machine Meulenhoff SF #154, Slaven van de Klau Planet of the Black Dust Planet of the Damned (See: Slaves of the Klau) The Pleasant Grove Murders [1967] The Pnume [1970] Meulenhoff SF # 48 Meulenhoff SF # 67, Tschai (O) The Potters of Firsk Meulenhoff SF #154, Slaven van de Klau Bruna, 1988, De beste verhalen van Jack Vance A Practical Man's Guide A Room to Die In [1965] Spectrum Prisma Detectives #143 Rumfuddle Meulenhoff SF #136, Morreion Sabotage on Sulphur Planet Meulenhoff SF #171, Alambar Sail 25 Meulenhoff SF #154, Slaven van de Klau Sanatoris Short-cut The Secret Griezelomnibus (A) Meulenhoff, 1982, Het laatste kasteel Meulenhoff SF #241, Het laatste kasteel Servants of the Wankh [1969] Meulenhoff SF # 25 Meulenhoff SF # 67, Tschai (O) Seven Exits from Bocz The Seventeen Virgins *Meulenhoff SF #114, ... en andere SF-verhalen (A) *Meulenhoff SF #153, De meest fantastische SF-verhalen van Meulenhoff (A) **Meulenhoff SF #201, Cugel gewroken Shape-Up Showboat World [1975] Scala # 17 Meulenhoff SF #194 Sjambak Meulenhoff SF #294, De tempel van Han Slaves of the Klau [1958] Meulenhoff SF #154, Slaven van de Klau Son of the Tree [1964] Meulenhoff SF #124, (O) Meulenhoff SF #260, (O) The Sorcerer Pharesm Meulenhoff SF # 80, De ogen van de Overwereld The Spa of the Stars Scala, 1976, De wonderbaarlijke avonturen van Magnus Ridolph Meulenhoff SF #198, Magnus Ridolph Space Opera [1965] Scala, 1976 Meulenhoff SF #272 Star King [1964] Meulenhoff SF # 20 Meulenhoff SF #228, De Duivelsprinsen (O) Strange Notions [1985] The Sub-Standard Sardines Meulenhoff SF #171, Alambar Meulenhoff SF #198, Magnus Ridolph Bruna, 1988, De beste verhalen van Jack Vance Sulwen's Planet Meulenhoff SF #112, Sulwens Planeet Meulenhoff, 1982, Het laatste kasteel Meulenhoff SF #241, Het laatste kasteel Take My Face [1957] Telek Meulenhoff SF # 58, Telek (all printings) The Temple of Han Meulenhoff SF #294, De tempel van Han Three Legged Joe Meulenhoff SF #294, De tempel van Han Throy [1992] Meulenhoff, 1992 To Live Forever [1956] Meulenhoff SF # 44 Meulenhoff SF #200, (O) To B or Not to C or to D (See: Cosmic Hotfoot) Trullion: Alastor 2262 [1973] *Scala # 16 **Meulenhoff SF #172 * & **Meulenhoff SF #287, Alastor (O) (1990 edition uses Scala translation) (1991 edition uses MSF translation) T'Sais Meulenhoff SF # 74, De stervende Aarde Meulenhoff SF #234, De stervende Aarde Turjan of Miir Meulenhoff SF # 74, De stervende Aarde Meulenhoff SF #234, De stervende Aarde Ulan Dhor Ends a Dream Meulenhoff SF # 74, De stervende Aarde Meulenhoff SF #234, De stervende Aarde Ullward's Retreat Meulenhoff SF #112, Sulwens Planeet Ultimate Quest (See: Dead Ahead) The Unspeakable McInch Scala, 1976, De wonderbaarlijke avonturen van Magnus Ridolph Meulenhoff SF #198, Magnus Ridolph Vandals of the Void [1953] Van Goor, 1955 The View from Chickweed's Window [1979] Rostrum, 1981 When the Five Moons Rise Meulenhoff SF #154, Slaven van de Klau Meulenhoff, 1982, Het laatste kasteel Meulenhoff SF #241, Het laatste kasteel Where Hesperus Falls Winner Lose All The World Between Meulenhoff SF # 58, Telek (1982, 1992) Meulenhoff SF # 96, Alfa Drie (A) Meulenhoff SF #141, De beste science fiction verhalen van Meulenhoff (A) Worlds of Origin (See: Coupe de Grace) The World-Thinker Meulenhoff SF #136, Morreion Wyst: Alastor 1716 [1978] Meulenhoff SF #146 Meulenhoff SF #287, Alastor (O)