A Science Fiction Family

This sort of biographical article, like this one on Poul Anderson and his family, is one of my favorite sort of Fandom Pulse articles. It’s the kind of thing you quite literally can’t find anywhere else:

Poul William Anderson was born in Bristol, Pennsylvania, on November 25, 1926, to Scandinavian parents. His father died when Poul was young. His mother took the family to Denmark for a period before World War Two, then to a Minnesota farm when the war broke out. He grew up bilingual, deeply attached to Danish literature and culture, and this shows up throughout the fiction. His command of Scandinavian mythology and Old Norse poetry is one of the things that separates his fantasy work from every imitator who came after Tolkien.

He took his bachelor’s degree in physics from the University of Minnesota in 1948. He was already selling stories to Astounding by the time he graduated. His first novel, Vault of the Ages, appeared in 1952. The science background is not decorative. Anderson’s fiction is rigorously scientific in ways almost nobody else in the field managed. His hard SF is calculated. His fantasy is grounded in real historical detail. His alternate histories are worked out by a physicist.

In 1952 he met Karen Kruse. They married in 1953 in Berkeley, California, moved to the Bay Area, and stayed there. Their daughter Astrid was born in Berkeley. The Andersons lived in Orinda, in the East Bay hills, for the rest of Poul’s life. He became a Californian in a way that shaped the fiction, though he never lost the Minnesota-farm sensibility either.

His Wife Karen. Born June Millichamp Kruse in Erlanger, Kentucky, on September 16, 1932, she was already deep in SF fandom when she met Poul. She coined the term “filk music,” which is what SF fandom’s musical tradition has been called ever since. She coined the term “sophont” for a generic sentient being, a word every worldbuilder in the field has since used. She wrote the first published science fiction haiku, “Six Haiku,” in The Magazine of Fantasy & Science Fiction, July 1962. She was a founding member of the Society for Creative Anachronism, under the SCA name Karina of the Far West. She was inducted into the Baker Street Irregulars for her Sherlock Holmes scholarship.

She was also her husband’s collaborator across four decades. The King of Ys tetralogy, Roma Mater (1986), Gallicenae (1987), Dahut (1988), and The Dog and the Wolf (1988), was cowritten with Karen. She contributed anonymously to the Last Viking trilogy. The collaboration was real, not honorary. When Poul died in 2001, Karen continued as an editor and fan community figure until her own death on March 17, 2018.

Their daughter Astrid Anderson Bear married the science fiction novelist Greg Bear in 1975. Greg Bear was one of the leading hard SF writers of his generation, author of Blood Music, Eon, Darwin’s Radio, and Moving Mars. He died on November 19, 2022. Astrid remains active in the SF community and coauthored an authorized biography of her father, Starfarer, in 2024.

I personally consider Anderson to be in the second tier of the classic SF writers, but I’ve always enjoyed his stuff. I really liked his contribution to There Will Be War, for example, and he had a range that tended to exceed most of the writers of his day. He was able to blend fantasy and science fiction in a manner very different than urban fantasy or magical realism, and yet it always worked somehow.

Anyhow, if you’ve never read any Poul Anderson, I’d highly recommend that you do so. His son-in-law, Greg Bear, is a little more of a conventional SF writer and his work is a little more of an acquired taste. But it, too, is at the very least worth trying if you’re looking for a new author to read.

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Interview with Orson Scott Card

Fandom Pulse sat down for an interview with one of the last living greats of science fiction, Orson Scott Card.

The Alvin Maker series is more explicitly tied to American spiritual and folk tradition than almost anything else in fantasy. Do you think today’s readership is equipped to receive that material, or has something been lost in how we read myth?

What’s been lost is a knowledge of our own history. I remember my wife’s and my amusement and shock when we got a fan letter early in the Alvin Maker sequence, in which a reader said how much she loved the way I was dealing with American history, but then added, “And I never knew that George Washington had been beheaded.” What? She thought that bit of alternate history was true? Hadn’t she studied American history in high school? How can an alternate fantasy history of America resonate properly with readers who don’t know real American history in the first place?

Your book Characters and Viewpoint remains required reading decades later. How has your own understanding of character changed since you wrote it?

I think the techniques laid out in Characters and Viewpoint remain true and useful. I’m sad to see some of the nonsense that has begun to pervade the teaching of writing in the universities. Present tense narrative is NOT part of the American tradition. Past tense is the way we tell the truth. Idiotic nonrules of grammar have perverted our language. Yes you CAN and sometimes MUST end sentences with words that are often used as prepositions. To merrily split infinitives is one of the treasured traditions in English; poor Latin couldn’t split their infinitives. But that’s no reason to deprive ourselves of such a useful device. I sometimes think that my seventh grade teacher, Mrs. Johnson, was the last American teacher giving students a grounding in grammar and structure. I did love diagramming sentences.

Ender’s Game has become one of the defining works of 20th century science fiction. At what point did you realize the book had taken on a life entirely outside your control, and how do you not let that dominate your creativity?

Early in the life of the novel Ender’s Game, I was at an event in Utah Valley, when a librarian from a local Junior High School confided to me, “Ender’s Game is our ‘most-lost book.’” I thought: If young readers can’t bear to part with the book, it must be touching something deep in their souls.

I’m happy with the number of people who tell me that Ender’s Game was important in their youth. There are also people who feel that way about Ender’s Shadow and Speaker for the Dead. If I knew what worked so well in those books, I’d do it every time. Instead, I do as I’ve always done: I tell a story I care about and believe in as clearly as I can, and then hope that readers will find value in it.

Prolific authors often say their best work gets buried under their most famous title. Do you have a book or series you wish more readers would find, something you feel hasn’t gotten the attention it deserves?

I don’t resent the popularity or success of Ender’s Game, I’m grateful that any of my books has won readers’ hearts. Yes, I think I’ve written better books; Yes, I’m proud of all my stories. And some few people have told me, over the years, that their favorite of my books is one of the less well-known ones.

Read the rest of it there.

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