most

But on March 16, my birthday, with my oral examination passed but my master’s thesis not even begun, I packed my suitcase and left the room to take a trip somewhere. Because I have learned to be not much interested in causes and biographies, I shall ascribe this romantic move to simple birthday despondency, a phenomenon sufficiently familiar to enough people so that I need not explain it further. Birthday despondency, let us say, had reminded me that I had no self-convincing reason for continuing for a moment longer to do any of the things that I happened to be doing with myself as of seven o’clock in the evening of March 16, 1951. I had thirty dollars and some change in my pocket: when my suitcase was filled I hailed a taxi, went to Pennsylvania Station, and stood in the ticket line.

“Yes?” said the ticket agent when my turn came.

“Ah — this will sound theatrical to you,” I said with some embarrassment, “but I have thirty dollars or so to take a trip on. Would you mind telling me some of the places I could ride to from here for, say, twenty dollars?”

The man showed no surprise at my request. He gave me an understanding if unsympathetic lo

My reservations about science fiction are much the same as my reservations about historical fiction, as set forth in that blue-crab Friday-piece earlier on: The more it is about science, the future, other worlds, etc., the less it is likely to be about the proper subject of literature: “human life, its happiness and its misery.” Fantasy is another matter: a mode of literature as old as the narrative imagination.

Florida Atlantic University’s annual International Conferences on the Fantastic in the Arts are unusually well organized, well funded, and well attended affairs, ecumenical enough in spirit to include among their principal speakers each year one “mainstream” writer whose works at least occasionally involve fantasy. I accepted their lecture-invitation partly because it gave me a chance to think again about my friend Scheherazade and partly because Shelly and I planned to spend our vacation that spring sailing in the Caribbean; the Boca Raton stopover would help pay for the cruise and give us a few beach-days to shape up for it. The SF people, however, turned out to be as enjoyable in their way as the British Virgin Islands in theirs; at conference’s end, as we took off for Tortola, our fellow fantasts were calling to one another “Next month in Cincinnati. . . next summer in Vancouver. . . next year in Adelaide. . .”

This lecture was published in amended form in the Autumn 1981 number of the quarterly Antaeus. The figures and footnotes are reprinted here as they were printed there.

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Of all the wonderful gifts that we’ve been given, one of the greatest is freedom.

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VIENNA – Austrian artist Alfred Hrdlicka, whose controversial works in metal, paint and pencil alienated as much as attracted the public died Saturday, Austrian media reported. He was 81.
The Austria Press Agency cited gallery owner Ernst Hilger as announcing Hrdlicka’s death in the daily Die Presse. Telephone calls late Saturday to Hilger’s private number as well to his downtown Vienna gallery, which frequently exhibited Hrdlicka’s works, were not returned.
Hrdlicka’s sculptures, drawings and paintings are known as much for their artistic subtlety as their controversial themes. His religious works, in particular, drew protest from believers who considered them blasphemous.
Among his better-known works are his cast iron sculpture of a prostrate figure covered by barbed wire in downtown Vienna. The starkly disturbing “Memorial Against War and Fascism” has been occasionally defaced since it was unveiled in 1991.
Known to have been deeply influenced by his studies of the mentally ill during the late 1960s, Hrdlicka turned to a figurative expressive style meant to provoke his audience to confront the world’s anguish, pain and misery. For him, art was agitprop and he understood his life as an artist as a mission to educate the public to oppose war and violence.
An atheist who espoused communist beliefs, he married religious themes with topics considered taboo among believers. One of his last exhibitions “Religion, Flesh and Power” was exhibited last year in the museum of Vienna’s St. Stephen’s Cathedral. A central work based on the Last Supper was removed on orders of Vienna’s Cardinal Cristoph Schoenborn after protests that it depicted Jesus and his apostles as homosexuals at an orgy.
Born in Vienna Feb. 27, 1928, Hrdlicka first was apprenticed as a dental technician before starting studies at the Academy of Fine Arts under Josef Dobrowsky and Albert Paris Guetersloh. Later he participated in Fritz Wotruba’s sculpture class until 1957.
Just seven years later, after a series of exhibitions in Austria, he was chosen to represent Austria in the Biennale in Venice. He taught at fine art academies in Stuttgart, Hamburg and Berlin, before returning to the Austrian capital and a professorship at the University for Applied Arts in Vienna.
His oft-cited dictum, “all art comes from flesh” is reflected in his later works. For Hrdlicka, art that avoided the human condition was nothing more than decoration and not to be taken seriously.
Hrdlicka was also sought after as a set designer on opera and theater stages across Europe.

COLUMBUS, Ohio (AP)—Ohio State star Evan Turner will miss 8 weeks after breaking bones in his back when he fell while dunking during Saturday’s game against Eastern Michigan.
Initial X-rays indicated no serious injuries, but Buckeyes athletic trainer Vince O’Brien said later tests found transverse process fractures of the second and third lumbar vertebra of Turner’s spine.
“My primary concern right now is Evan’s long-term health and well-being,” said Ohio State coach Thad Matta. “Evan was to this point in the season the best player in college basketball. We have been through tough situations before and our guys will regroup and prepare for the rest of our season starting with Butler next week in Indianapolis.”
The injury occurred after the junior swingman drove the lane and was fouled going up for a dunk with 13:27 left in the first half of the No. 15 Buckeyes’ game against Eastern Michigan.
Turner missed the dunk and hung on the rim with his feet flying into a nearly horizontal position, before falling on his back under the basket. He spent several minutes on the floor before walking with help to the locker room.
The Buckeyes (7-1), leading 15-5 at the time of the spill, went on to a 111-60 victory.
Turner, who came into the game averaging 20.6 points and 12.9 rebounds, was taken to The Ohio State University Medical Center for X-rays of his lower back. Initial tests showed no broken bones or substantial damage, but Matta said Turner would undergo more intensive tests before leaving the hospital. That is when the spinal breaks were noticed.
After the game, Matta said it appeared Turner would be fine.
“Everything looked good on the X-ray,” Matta said. “I haven’t seen the fall yet, but we’re obviously thinking about him and hoping that everything’s going to be OK.”
Turner’s injury marks the second year in a row at almost the same point in the season that one of the Buckeyes’ top players has been sidelined.
Last season, David Lighty, the team captain and most experienced player, broke his foot in the seventh game and missed the rest of the season. The Buckeyes, with Turner playing an increasingly larger role, went 22-11 before losing in the first round of the NCAA tournament.
Turner’s stock rose so high that he considered jumping to the NBA after the season, but elected to return. He recorded two triple doubles in Ohio State’s first five games—the second and third triple-doubles ever for a Buckeye.
Ohio State is off the next week for final exams and will play next at Butler on Saturday.