Alien Archives. Robert Silverberg

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       THE SILENT COLONY

      It’s not unusual or particularly disgraceful for a young writer to imitate the work of the writers he admires. That’s one way to discover, from the inside, how those writers achieve the effects that the young writer finds so admirable. I’m not talking now of the various reworkings of the themes of Joseph Conrad that I’ve done over a period of years, or my deliberate pastiche of C.L. Moore, In Another Country. Those were the stunts of a mature writer having a little fun. I mean a novice’s flat-out imitation of his betters purely for the sake of mastering their stylistic or structural techniques.

      When I began my career in the early 1950s there was a group of about a dozen science fiction writers whose work held special meaning for me—Henry Kuttner, Cyril Kornbluth, James Blish, Alfred Bester, etc. (In 1987 I brought my favorite stories by those writers together in the autobiographical anthology, Robert Silverberg’s Worlds of Wonder, more recently issued under the title, Science Fiction 101, which I recommend to any beginning writer who is as hungry to see print as I was sixty-plus years ago.) There was a particular cluster within my group of favorites whose work I paid special attention to: Robert Sheckley, Philip K. Dick, Jack Vance. Their stories seemed to me the epitome of what I wanted my science fiction to be like; and from time to time during the first five or six years of my career I would—consciously and unabashedly—do something in the model of one of those three, so that I could see, word by word, how they went about constructing such splendid stories.

      “The Silent Colony” is one of my Sheckley imitations: an attempt at mimicking his cool, lucid style and his ingenious plotting. I wrote it late in the autumn of 1953, while I was a sophomore at Columbia writing science fiction stories in whatever spare time I could steal from my studies. Sheckley, who was then about 25 years old, had begun selling only a year or two earlier. Already his fiction was appearing in leading slick magazines like Colliers and Esquire as well as in every sci-fi publication: from the top-ranked Astounding and Galaxy to the wildest and wooliest of pulps. He even had a collection of his stories published in book form by a major publisher. It was a dazzling beginning to a career: I, seven years younger, envied him frantically. If I couldn’t be Robert Sheckley, I could at least learn to write like him. “The Silent Colony,” it seems to me now, is a creditable try at a Sheckley story, given the difference in our ages and technical skills. The three doomed alien visitors to Earth were, I think, reasonably original creations. It didn’t sell to Esquire, or even Galaxy, but it did sell. On the strength of my contract for my novel Revolt on Alpha C my new agent—I had acquired an agent by then, Scott Meredith, who represented such top figures in the field as Vance, Dick, Arthur C. Clarke, and Poul Anderson—had, after nine tries, sold it (for $15) to Robert W. Lowndes, editor of Future Science Fiction in June of 1954. Lowndes needed a very short story to fill his October 1954 issue, published in August, and so, most unusually, “The Silent Colony” was in print just a couple of months after it was accepted.

      I spent the summer of 1954 editing a mimeographed newspaper in a children’s camp a hundred miles north of New York City; and great was my pride when the October Future arrived up there and I displayed my story to my fellow campers—three pages tucked away at the end of the issue, with stories by Philip K. Dick, Algis Budrys, and Marion Zimmer Bradley more prominently displayed. I didn’t mind its inconspicuous placement. One didn’t expect a little snippet of a story like that to be featured prominently. And Dick, Budrys, and Bradley all were older than me. Each of them had been writing professionally for two or three years already, so I didn’t begrudge them their names on the cover. What mattered was that I was in the issue too—my first short story to be published in a widely distributed American magazine. Only three pages: but bigger and better things were to come. I was sure of it.