Stories: All-New Tales - By Neil Gaiman & Al Sarrantonio Page 0,165

we’d have a lot of illustrations, one of the secrets, in my experience, of a successful periodical. They were Jack Hawthorn’s job.

Hayley started finishing a novella he’d been talking about, a weird thing in which the detective’s dreams informed his case. Allard began writing us a new serial, full of brooding metaphysical imagery borrowed from Dali and Ernst. Helena finished her alternate-world Nazi creeper. I drafted my editorial about pulp influences on William Burroughs, and Burroughs gave us a chapter from his new book. American beats and British pop artists had something in common with noir movies, our other great enthusiasm. Allard produced a guest editorial arguing that “the space age” needed a new lexicon, new literary ideas. I did a short under a regular pseudonym and the rest came from Janson’s stable of favourites.

All three of us were English but had known little conventional upbringing. Hayley had been orphaned by a buzz bomb, taken a job on a local paper before being conscripted into the RAF, studied metaphysics at Oxford where he’d met Allard who’d been raised in occupied France with an Anglo-Jewish mother who’d been on one of the last transports to Auschwitz, worked for the Resistance as a kid then come home not to prewar Mayfair fantasy but despairing suburban austerity, the world Orwell captured. After his conscription served in the RAF, he did physics at Oxford, where he met Harry. They both dropped out after a few terms, writing features and noirish sci-fi stories for mags like Authentic or Vargo Statten’s. Allard was qualified to fly obsolete prop planes, Hayley was a qualified radio operator and I’d done a couple of miserable ATC years before they abolished conscription about a nanosecond before I was due to be drafted, edited juvenile story papers, trade mags and Sexton Blake, so I had loads of editorial experience but little formal education.

We’d spent half our lives in the pub discussing why modern fiction was crap and why it needed an infusion of the methods and concerns of popular fiction, all of us having sold a bit to the surviving thriller and science fantasy pulps. I think we felt we knew what we were talking about, having been raised in the social margins, thanks to one trick of fate or another, and loved surrealism, absurdism, French new wave movies as well as Pound, Eliot, Proust and the rest. In common with a few other restless autodidacts of our day we loved anything containing Gabin’s smoking .38, Mitchum’s barking .45 or Widmark’s glittering knives, all mixed up with Brecht and Weill, Camus’ Fascist Caligula screaming “I’m still alive” and the black bars crossing the faces of Sartre’s Huis Clos, emphasizing the prisons in which we place ourselves. Into that mix we threw James Mason in Odd Man Out, Harry Lime, Gerald Kersh’s Night and the City, Bester’s Demolished Man, Bradbury’s Fahrenheit 451, Household’s Rogue Male, Lodwick’s Brother Death. We’d met the likes of Francis Bacon, Somerset Maugham and Maurice Richardson at the Colony, read Beckett, Miller and Durrell in Olympia Press and generally got our education from the best novelists, journalists and artists of our day. Allard liked Melville more than I did, Hayley preferred Kafka and I loved Meredith. We were agreed that their lessons needed to be brought back into contemporary culture via the popular arts. Borges, too, though his stuff was only just being done into English via Ferlinghetti’s City Lights press. We also thought that fiction should be able to carry as many narratives per paragraph as possible, using techniques borrowed from absurdism, futurism and combined with new ideas of our own. We’d thought there were hundreds of writers dying for the chance to do the same as us, but though a lot more readers welcomed what we made of Mysterious, contributors were slow in coming.

By 1965 we’d at least laid the foundations of the two-way street. Pop art came one way, pulp the other. The Beatles and Dylan were doing the sound track. They broke new ground and got paid for it, but most people had no real idea what we meant when we talked about combining “high” and “low” arts, in spite of the two cultures being as popular a subject in features pages as the big bang and planet-size computers. We wanted to rid pop fiction of its literalism, taking exaggeration for granted in ambitious work, but were only slowly developing a critical vocabulary, trying to bring a deeper seriousness to the novel, but were