The Terry Carr Collection of fanzines was acquired from the author’s estate following his death in 1987. Terry Carr was a talented short story writer (“The Dance of the Changer and the Three,” and “Ozymandias” are prime examples of his art), and novelist (Cirque, 1977). He was perhaps more famous as an editor. From 1964 to 1970, he worked with Donald Wollheim at Ace Books. His Ace Specials series transformed science fiction by publishing such groundbreaking works as Ursula LeGuin’s The Left Hand of Darkness (1968). He returned to Ace in 1981, where he unveiled another generation of new SF writers: William Gibson’s Neuromancer (1884), Kim Stanley Robinson’s The Wild Shore (1984), and Lucius Shepard’s Green Eyes (1984).

Carr was, his life long, a devoted fan and fan writer and critic. He won Hugo Awards for best fan writer in 1957 and 1973. The 1959 Hugo was for his own fanzine Fanac. Displayed is The Fannish II (February 24, 1960), or Fanac’s second anniversary issue.

Carr collected important fanzines from the period of his main activity—the mid 1950s through the 1970s. Some examples are Quip 1 (Fall 1965), an important fanzine edited by Arnie Katz and Len Bailes (notice mention on the cover of the “Void boys,” e.g. Terry Carr, Ted White, Greg Benford); Psychotic: The Psychedelic Adult Pulp Fanzine, 25 (May 1968), edited by Richard E. Geis, of Alien Critic fame; Warhoon 18 (January 18, 1963), edited by Bob Bergeron, an important and contentious fan; Grandfalloon 12 (May 1971) edited by Linda Bushyager (another woman editor!), an impressive zine that features all-star artwork by Alicia Austin, Grant Canfield, Bill Rotsler, Andy Porter, and Ron Miller. Carr was connected to international fandom, as we see in a couple of striking examples: A Bas 8 (April 1956), edited by Canadian fan Boyd Raeburn; and For Paranoids Only 4 (Easter 1985), edited by Nigel Richardson, Leeds UK, a late fanzine for Carr.

Historians of fandom speak of the first fanzine as Ray Palmer’s 1930 The Comet. Alas, the Carr Collection does not have it. But it does possess a rare copy of Volume 1, 1 (January 1940) of The Comet, edited by Tom Wright, featuring articles by stellar fans Harry Warner Jr., and Forrest Ackerman.

When the Eaton Collection acquired Terry Carr’s fanzines, none of these titles existed in the national library database. All titles have subsequently been catalogued and entered into the database. Because Terry Carr was a selective collector, saving only the fanzines he thought significant for posterity, his collection has provided an invaluable template for further development of Eaton’s fanzine holdings.

The Carr fanzines are stored in acid-free containers in acid-free boxes. Examples of the creative storage techniques for these materials, difficult to store because they are so brittle and insubstantial, are seen in the display.


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	The Terry Carr Collection The Terry Carr Collection of fanzines was acquired from the author’s estate following his death in 1987. Terry Carr was a talented short story writer (“The Dance of the Changer and the Three,” and “Ozymandias” are prime examples of his art), and novelist (Cirque, 1977). He was perhaps more famous as an editor. From 1964 to 1970, he worked with Donald Wollheim at Ace Books. His Ace Specials series transformed science fiction by publishing such groundbreaking works as Ursula LeGuin’s The Left Hand of Darkness (1968). He returned to Ace in 1981, where he unveiled another generation of new SF writers: William Gibson’s Neuromancer (1884), Kim Stanley Robinson’s The Wild Shore (1984), and Lucius Shepard’s Green Eyes (1984). Carr was, his life long, a devoted fan and fan writer and critic. He won Hugo Awards for best fan writer in 1957 and 1973. The 1959 Hugo was for his own fanzine Fanac. Displayed is The Fannish II (February 24, 1960), or Fanac’s second anniversary issue. Carr collected important fanzines from the period of his main activity—the mid 1950s through the 1970s. Some examples are Quip 1 (Fall 1965), an important fanzine edited by Arnie Katz and Len Bailes (notice mention on the cover of the “Void boys,” e.g. Terry Carr, Ted White, Greg Benford); Psychotic: The Psychedelic Adult Pulp Fanzine, 25 (May 1968), edited by Richard E. Geis, of Alien Critic fame; Warhoon 18 (January 18, 1963), edited by Bob Bergeron, an important and contentious fan; Grandfalloon 12 (May 1971) edited by Linda Bushyager (another woman editor!), an impressive zine that features all-star artwork by Alicia Austin, Grant Canfield, Bill Rotsler, Andy Porter, and Ron Miller. Carr was connected to international fandom, as we see in a couple of striking examples: A Bas 8 (April 1956), edited by Canadian fan Boyd Raeburn; and For Paranoids Only 4 (Easter 1985), edited by Nigel Richardson, Leeds UK, a late fanzine for Carr. Historians of fandom speak of the first fanzine as Ray Palmer’s 1930 The Comet. Alas, the Carr Collection does not have it. But it does possess a rare copy of Volume 1, 1 (January 1940) of The Comet, edited by Tom Wright, featuring articles by stellar fans Harry Warner Jr., and Forrest Ackerman. When the Eaton Collection acquired Terry Carr’s fanzines, none of these titles existed in the national library database. All titles have subsequently been catalogued and entered into the database. Because Terry Carr was a selective collector, saving only the fanzines he thought significant for posterity, his collection has provided an invaluable template for further development of Eaton’s fanzine holdings. The Carr fanzines are stored in acid-free containers in acid-free boxes. Examples of the creative storage techniques for these materials, difficult to store because they are so brittle and insubstantial, are seen in the display.