SOL Rising
Number 25, September 2001

American Gods
View From The Chair
From the Collection Head
Colin Wilson and SF
Hidden Treasures
Nothing But ‘Net: Websites of Interest

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American Gods

0n July 23, award‑winning author and New York Times best‑selling author Neil Gaiman visited the Merril Collection, reading from his new book, American Gods, and signing Gaiman paraphernalia belonging to more than 200 enthusiasts.


Gaiman's appointment with what one HarperCollins Publishers representative called his "hard‑core fans" at the Merril was part of the American Gods book tour, which began on June 17 and took him around the United States, Canada and the United Kingdom.


The event at the Merril was announced at the end of May on Gaiman's web­site, shortly before the Merril Collection and Bakka Books ‑ the two tick­et agents for the show ‑ had confirmed the date with HarperCollins.


When an article and review of American Gods was published in the Globe and Mail newspaper two days before the actual event (and long after all the tickets had been sold out), Merril was getting about 10 calls per hour from people asking if any tickets were still avail­able.


One of those callers was Lucy DeJesus, who came to Toronto from Brooklyn by train to see her favourite writer after she missed a signing in New York.


"I've been into Neil since I heard his name through Tori Amos songs," said DeJesus. She got hooked to the Sandman comic books and read all his other works. "I'm not an avid reader, so it became apparent that I must love his work because I kept reading everything."


But DeJesus didn't know that because of the limited seating available, she had to reserve a ticket in advance for $2.50. And tick­ets had sold out within two weeks of the announcement of his tour date at the Merril. Luckily for DeJesus, another patron cancelled their ticket.


"I'm really lucky to have gotten here," said DeJesus.


Gaiman arrived a little before 7 p.m. with his consort of HarperCollins reps and author Nalo Hopkinson, with whom he had just had din­ner.


Hopkinson took the podium to intro­duce Gaiman in what Gaiman jokingly called in his blogg, an online on‑the‑road journal, "a trans­parent and blatant attempt to get the people to go out and buy her books." (If you haven’t read it already, go read if. A great book! ‑‑ ed.) Hopkinson's book Midnight Robber has been nominated for a Hugo award.


Gaiman, a rather ominous‑looking fig­ure in black who is, to the contrary, quite charm­ing and friendly, opened by describing the American Gods tour, which would end in two days time.


The itinerary described on his website often lists more than one major signing location per day in some cities such as New York, and does not include drop‑in signings and interviews with sundry media.


On that Monday in Toronto, Gaiman had already done interviews with Parsec,, SPACE, U8TV, Reel to Reel, and TALK! TV; had gone to the Beguiling for a drop-­in signing; and had dinner with Nalo Hopkinson.


A day earlier, Gaiman was at the Indigo!Books, Music, and Cafe on Yonge and Eglington Streets signing books for about 300 people.


"So if I am punch drunk and brain­dead, this is why," said Gaiman. "It's at moments like this when all you nice people are here sitting comfortably that I realize important things are missing ‑ um, can I bor­row your book?" he asked DeJesus, who was sitting front row centre.


For the next hour, Gaiman read the first chapter of American Gods, which begins with the release of a convicted crimi­nal named Shadow from prison and his encounter with a man offering him a "job."


Gaiman's fluent reading captivated the audience, as he lent each character a voice and personality of their own.


He then read what he called a "Sam speech," a character in American Gods whose skewed worldview and para­doxical beliefs are something you could print on a t‑shirt.


During the question and answer period, Gaiman was asked questions about how he eliminated Anglo‑isms in his novels (he tries hard, but sometimes lets a "car park" slip past instead of substituting it with "parking lot"); the origins of his unique char­acter names (innovation supported by what "sounds cool," and inspiration from people and places); and what he reads (currently, he's into mystery author Harry Stephen Keeler.)


Gaiman also described dinners with author Harlan Ellison, who read American Gods and submitted a quote to Gaiman's website even though Ellison is adamant about not giving quotes to promote other authors' books. (Audience members said Gaiman's imitation of the famed author was dead‑on.)


Gaiman signed every piece of Gaiman‑ware each fan brought before him—bagged comic books, dog‑eared paper­backs, hardcovers missing dust jackets, and the more pristine versions of their kind—until nearly 11 p.m.


After a pot of tea and handshakes all around, Neil Gaiman left the building. He jumped on a plane to Vancouver the next morning for a signing the next day.


DeJesus, meanwhile, went home glowing: she stayed until the very end and had her picture taken with Gaiman. She even got a mention on the website.


Go to


Vicki So, Collection Page


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View From The Chair

As this is the first of my "View From The Chair" columns, I must start off by thanking my predecessor, Lucy White, for her outstanding efforts over the past 3 years.


Her time as Chairman of the Friends was very productive, and brought in many changes. Under Lucy's direction, the Friends of Merril developed a web site, a fundraising com­mittee, contributed to a new Merril Collection brochure, and negotiated with the Toronto Public Library Foundation, in order to be able to offer charitable receipts for donations to the Friends of the Merril Collection, over and above the cost of the membership. Lucy had a very successful term, and is a perfect example of how important good leadership is to the Friends.


Any group which is run and supported solely by volunteer members needs support of one kind or another. All such organizations depend on members volunteering their time and skills, whether it be in fund raising, legal aid, publicity, web page design or something else. The Friends of Merril have a good core group of volunteers to draw upon, who are always there to help out as needed at our events. Some of these people have been helping for many years, others are relatively new, but they all share a common bond: their appreciation of the Merril Collection. This has lead to their willingness to donate their time, talents and energy in support of the Merril Collection and the Friends of the Merril Collection. I'd like to express my appreciation and the appreciation of all of the members of the Friends of Merril Executive Committee to these generous Friends.


Often, when there is a change in leader­ship, there's a tendency for immediate change, the new person wanting to put their own stamp on things. I have no such inten­tions. I am quite satisfied with how the Executive has operated over the last 5 years.


There are two areas I'd like to see more emphasis on, one of them is fund‑raising, and the other is a greater public awareness of the Collection. We've been considering various fund‑raising ideas over the last few years including the idea of possible corporate sponsorship/donations and even advertising in Sol Rising.


There are a number of ways in which we can build up public awareness and interest in the Merril Collection. Cross‑promotion, work­ing with some of the Toronto Public Library's other Special Collections, will benefit all. One such opportunity is the upcoming Footsteps of the Hound conference, organized by the Arthur Conan Doyle Collection. The exhibit will be at the Toronto Reference Library October 19‑21. The Merril Collection has cre­ated their own exhibit of Conan Doyle mate­rial for display.


We expect that the striking Kelly Freas cover of the new Merril Collection brochure will gather a lot of attention and catch the public's eye. A package including the brochure and a copy of SOL Rising will be sent to every University in Canada. We'll also attempt to create a list of scholars and aca­demics who might be interested in receiving our package.


We've had great success with all our events this year, in particular the recent Neil Gaiman reading and Dr. Elizabeth Miller's lecture/slideshow. The turnout for both shows was excellent, and the response from those attending was extremely positive.


I expect our next two events will receive similar accolades. On September 13 we'll be having a launch for Robert Charles Wilson's new novel, The Chronoliths, which Locus is calling one of the year's most "Notable" books. Also, the launch for Dark Things Are Out There: The Best of Northern Frights, edited by Don Hutchison, is set for early November. Mark your calendar, as these are two events you don't want to miss. We're already rounding up volunteers to help with crowd control.


I'd like to remind everyone of the Christmas Cream Tea, our annual and most popular social affair. I realize it's more than two months away, but time flies and some people tend to commit themselves to too many events during the holiday season, sometimes resulting in having to miss the Cream Tea. It's set for December 1 or December 8, and I hope to see you all there.


Before I go, I'd like to congratulate Bruce Ballon, a member of the Friends of the Merril Collection and one of the six Canadians who have been nominated for the World Fantasy Awards.


Jamie Fraser, Chair



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From the Collection Head

Prince Valiant: An American Epic, Volume one: 1937. Edited by Rick Norwood. Wayne, New Jersey: Manuscript Press,1982. Limited edition, 558 of 1000.


As I was sitting at the Merril Information Desk, admiring this donation, I was thinking about how fortunate public libraries in general and the Merril Collection in particular are in their donations. Most often, the public will offer any print material they are planning on getting rid of to their friendly local library. Sometimes it is material that public libraries can't use—school texts from the 1960s have very limited applicability. Sometimes it is fabulous, as the item I described above.


The illustrations are large, dating back to a philosophy of illustration which believed that in order to admire the efforts of the illustrator, the read­er had to be able to see them. From edge to edge it is 22" by 17", individual panels are 4 5/8" square. Someone took this book, carefully laid it flat some­where in order not to dam­age it, and left it there for nineteen years. Then the owner decided that the best thing to do was donate it to a public library, from which, by complicated means, it came to the Merril Collection.


This is not uncommon. When I first came to the Merril Collection, I was expecting hordes of outraged people demanding to know, "Why can't I take this first edition home with me?" But, with very, very few exceptions, staff has always received understanding and support from the members of the public. Not infrequent­ly, on those shaming occasions when the person asks for a book which is not present in the Merril Collection, the same person will show up a couple of months later, telling us "I found it and I would like to donate it!" The first time this happened to me, the book in question was an out‑of-­print first edition of a fantasy written by Evangeline Walton. The patron had found a signed copy, even more appreciated, as Walton had died some time earlier. I was very happy to accept it for the Merril Collection.


A famous author phones and will consider donating all of the original manu­scripts for novels and stories long since famous. Are we interested? Hot rats! Yes!


It isn't that I am totally fixated on text. Another patron asked if it was possible to donate art, rather than text. "Do you col­lect science fiction and fantasy art?" was the question. Well, "Yes!"


Another patron phones from Hawaii and wants to donate some signifi­cant records. "Are we interested?" Of course. The generosity of our users ensures a steady trickle of worth­while material into the reference collection, stretching our budget. The rare, the beautiful, the exotic go into the reference collection.


Lest you wonder, materials not required for the refer­ence collection are passed on to the circulating resource collection on the second floor of the Lillian Smith building, which houses over 8,000 cir­culating science fiction and fantasy titles. Most paperback dona­tions to the Merril Collection will be fun­neled into the circulating collection, again stretching the budget allowed for this resource. This circulating collection serves all 98 branches in the system, and is extremely heavily used. When staff find a paperback that has circulated 60 times, it sits on the counter, cover ragged, pages moulting. It needs to be replaced. It deserves to be replaced. If it was a horse, I would shoot it as a mercy killing.


As I said, we aren't limited to text. Money is the nicest donation of all, because that allows us to acquire materials which we are offered and don't have the wherewithal to purchase. It has a flexibili­ty that even the best of the first editions lacks. Through the Toronto Public Library's Foundation, donors can receive an income tax deduction certificate for the value of the donation. Think of it as being able to direct the use of your income tax dollar.


The only drawback to public generosity over the years has been a health hazard. There was a regular user at the Merril Collection who would drop in every day after class. The class was commercial baking and she was bringing something chocolate with her every day for the staff. By the time she graduated, we all had stopped eating lunch, by way of caloric compensation.


Loma Toolis, Collection Head


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Colin Wilson and SF

In 1956 the literary world was stunned by the unexpected success of an unlikely bestseller. The book was The Outsider: An enquiry into the nature of the sickness of mankind in the twentieth century and was written by the then 26 year old Colin Wilson. Its publication was concurrent with John Osborne's play Look Back in Anger and Kingsley Amis' novel Lucky Jim, and marked the rise of a new generation of English working class writers, collectively labelled the 'Angry Young Men.'


'Angry Young Man' Colin Wilson turned 70 this year, and in the 45 years since The Outsider was published, has pro­duced more than 80 books, encompassing a wide range of subjects including philoso­phy, psychology, criminology and the occult, as well as 20 novels. Included in this output are a number of science fiction and fantasy novels.


Wilson's first 'science fiction' novel was written on a challenge from August Derleth, H.P. Lovecraft's publisher. In his book of literary criticism The Strength to Dream, Wilson had been less than charita­ble in his analysis of Lovecraft's work. Derleth took offense, and said to Wilson, in effect: If Lovecraft is so bad, can you do any better? Wilson took up the challenge, and produced The Mind Parasites, a 'Lovecraftian' novel in which "some mysteri­ous parasite that has hidden itself deep in the depths of the human mind, sucks up our vital energy, the energy we create through optimism and courage. And when a small group of men have found a way of defeating these parasites, they recognize that they now have access to superhuman powers "

So effective was this premise, that Wilson still receives enquiries as to the actual exis­tence of the mind parasites!


Wilson returned at intervals to 'Lovecraftian' themes in later years, in his novels The God of the Labyrinth and The Philosopher's Stone, and in the novellas The Return of the Lloigor and The Tomb of the Old Ones.


Colin Wilson's one 'hard' science fiction novel is The Space Vampires. In it, he returns to the theme of the theft of vital energy, this time through 'energy vampires' from outer space. The idea for this novel came, Wilson says, one afternoon as he was dozing on a friend's settee, and sud­denly there floated into his head: "an image of a vast space craft—fifty miles long and twenty miles high—floating in space some­where in the asteroid belt. It is pock­marked all over with meteor holes, and a great rent has been torn in it by some colli­sion. A smaller space ship has discovered the derelict, and as it approaches, the pockmarked sides tower up like cliffs of steel. And inside SF movie fans will recognize this description as the opening scene of Lifeforce, the film version of The Space Vampires, directed by Tobe Hooper.


Colin Wilson stated in an essay in 1978 entitled Science Fiction and Existentialism that:"It seemed to me, quite simply, that science fiction was perhaps the most important form of literary creation that man has ever discovered." He was refer­ring to the fact that sheer unbridled imagi­nation is the driving force of science fiction. Given this, it is not surprising that Wilson has returned time and again to SF, and that the 'fantasy' genre has provided the vehicle for his most remarkable novels to date ‑ the Spider World series ‑ in which 25th century human beings cower in underground bur­rows while huge death spiders rule the earth. Compared to Tolkien's Lord of the Rings series by reviewers, it is fitting that, in this year of the release of the first Lord of the Rings movie, the Spider World novels are being reissued in the US in hardcover editions. And added to the initial three vol­umes The Tower, The Delta and The Magician, will be a brand new fourth vol­ume.


Yet Colin Wilson's greatest 'fanta­sy' novel remains in manuscript. Titled Metamorphosis of the Vampire, it was con­ceived as a sequel to The Space Vampires; in it the son of the original novel's protago­nist, Carlsen, discovers a colony of benign 'energy vampires' in New York City. These 'vampires,' however, exchange each oth­ers' 'essences' which quickly leads the novel into a full‑fledged treatment of the nature of sexuality, including journeys to other planets, amazing biological transfor­mations and gender‑swapping, all set in a swirling, dream‑like atmosphere reminis­cent of David Lindsay's remarkable Voyage to Arcturus. Paul Newman, editor of Abraxas magazine, has written that Metamorphosis contains: "some of the most thoroughgoing investigations of sen­sory perspectives ever attempted in fic­tion." And writer Gary Lachman states succinctly: "Metamorphosis of the Vampire is to the average novel what Panavision is to a Kodak snapshot."


It appears, then, that we have not yet read Colin Wilson's masterpiece, and that the best is yet to come.


Ted Brown, Treasurer


Note: The Spider World novels are currently being reissued by Hampton Roads in Virginia, and are available from, or the pub­lisher, as they are published. All of Colin Wilson's SF and fantasy novels are available from the Toronto Public Libraries, and copies are held in the Merrill Collection.

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Hidden Treasures

“Pedro fell ill. There wasn't a vet in all of Chicago who dealt with parrots. Besides, it was too cold to risk taking him outside. The zoo vet said it sounded like pneu­monia. Keep him warm and give him stim­ulants.”


“A cruel fate caused the boiler to quit during Pedro's crisis. Everybody moved into the kitchen to keep warm. My father stayed home from work to nurse him. I remember coming home from school upon this scene: Pedro was wrapped in a dishtowel. To immobilize him, my father had made a sort of cradle out of one of those black enamel oval roasting pans. He had Pedro resting on the open oven door, and was in the act of pouring Ballantine's scotch down Pedro's beak out of a shot glass.” ‑ Daniel Pinkwater, from "Polly Wants a Broad Spectrum Antibiotic" in Fishwhistle (1989).


Hidden deep in the Merril stacks are some of the works of one of the great­est American fantasy writers of our time. I refer to Daniel Pinkwater, author of (among others) Author's Day (1993), Borgel (1990), The Snarkout Boys and the Avocado of Death (1982), The Moosepire (1986), Lizard Music (1976), Alan Mendolsohn, Tthe Boy from Mars, Fat Men From Space (1977), and The Worms of Kukumlima (1981).


As the Merril Collection was designed to help adults, and most of the adults we serve are notably unencumbered with children, you may have managed to miss Pinkwater's amazing books.


Daniel Manus Pinkwater has writ­ten over seventy books, mostly for kids, these being people who are neither young children nor adults. He is a commentator for National Public Radio in the U.S., and two collections of his columns, FishWhistle (1989) and Chicago Days, Hoboken Nights (1991) have been published. Briefly, he had a column in the New York Review of Science Fiction (issues 1‑4), so those of you who are sf purists, wondering why I am writing about this man, can dig out your back issues and take a look.


I am telling you about Pinkwater because I think that he is a genius, whose writings are easy to miss, because they are filed in the YA (young adult) ghetto. It is dif­ficult to explain the charm of a Pinkwater novel; charm does not lend itself to analy­sis. As the old expression has it, it is like trying to fluoroscope a ghost. However, I can write of the moments of recognition, intense emotional spikes echoed in his readers' lives. We all look for reflections of our own experience of life in fiction, and in Pinkwater's books, complete with aliens, talking animals and weird relatives, almost everyone finds it.


In The Snarkout books, Walter Galt, disgusted student at Genghis Khan High School, snarks out, ie. sneaks out of his parents' house after dark, in order to attend late night showings of classic movies. While doing this, he also discovers food ‑ real food, not the tasteless mush his mother has been serving all of his life. (You have to love someone who creates the Garden of Earthly Delights Drive‑in and Pizzeria).


Reading Pinkwater reminded me of one of the major experiences of my life. This occurred in Doncaster, England, while I was taking care of my two cousins, aged five and three. Doncaster was an industrial English city; it looked pretty much like I thought that Mordor would, on a bad day. All of the buildings were gray or brown or black, the plants looked as if Lovecraft's Colour Out of Space had sucked the life from them, and if any birds flew overhead in the gray sky, you instinctively expected them to plummet to earth, dying.


My aunt announced that we were going out for Chinese food. Chinese food, in my family, came in cans. My mother, always supportive, knew that Chinese food was supposed to be a treat, and once or twice a year, felt obliged to inflict it upon us. Canned vegetables, accompanied by gray mystery meat, in a sauce which mostly tasted like the tin it came in.


In any case, they made the announcement, and I went into hunted ani­mal mode. I am sure that my eyes shone with that red light that all photographs of trapped animals show. I was reluctantly shepherded into the vehicle, still trying to think of a reason for not eating food tonight. An hour later, I reluctantly spooned some­thing called curried duck with cashews onto my plate and took a mouthful. My life has never been the same since. I have talked to several other people, admirers of the Snarkout books, who shared that moment of recognition the books engen­der, remembering when food stopped being a regrettable necessity and became amazing.


(Anyone further interested in this topic should go to and read the article on Chicago sausage).


The same moment of recognition comes to the readers of Author's Day, especially if the reader is a published author. Many of the patrons of the Merril Collection are authors. Occasionally, the staff, who are warm and sensitive human beings, try to make individual writers feel better about a particularly horrific book launch, one which thrust the author's brain child, the creative endeavour upon which the writer laboured for many years, into a crass and uncaring world.


In Pinkwater's book Author's Day, the school celebrating the book got the title wrong, because they confused it with another book. Then the kindergarten chil­dren, who have just eaten pancakes, all hug him. Then he has to wear a funny hat, while he talks to the children. Other horri­ble things happen, and by the time the class mascot bunny bites the author, he is resigned to his fate. By this time, most of our writers are perking up. However awful their book launch, it doesn't usually include maple syrup, sticky children and funny hats.


Then they get to the section where a new writer trying to get started wants the author to read his manuscript, which is 900 pages long. This invariably strikes a chord of recognition. The writer shudders, and either heads off to a bar, or enters a fugue state, which staff try to counter with rich, caffeine‑laden chocolate.


Pinkwater's columns, originally written for National Public Radio, have titles like "And I Got This One For Clapping Erasers" and "Like Mama Never Made." The first column details the joys of private schools, or as Pinkwater put it, "School was school, and in the private institution, I got to learn about class snobbery, anti­-Semitism, sadism, and the rich variety of sexual practices in which humans indulge. Also, I got to go to class with future corpo­rate raiders, divorce layers and plastic sur­geons. I had a fairly good time."


Reading Pinkwater, I am always aware that real life is stranger, and just as wonderful, as fantasy. Some time ago, I began to buy Pinkwater books for a young acquaintance of mine who is four years old. Almost immediately, it became apparent that when these books were read aloud to Cameron, all of the adults in the room wanted to listen as well. Now I bring Pinkwater books written for somewhat older children, my friends, mostly people in their late '30s and early '40s.


It is a truism amongst children's librarians that the best YA fantasy is often enjoyed by adults, but only Pinkwater can do this with picture books as well. I am sel­dom filled with messianic fervour, but here I am, thrusting Pinkwater books at com­plete strangers. Aliens will be your friends! Food will be interesting! Life will be differ­ent! Better!


Lorna Toolis, Collection Head


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Nothing But ‘Net: Websites of Interest

All of a sudden, it's 2001, and the question "have you seen the space station yet?" is something heard in everyday conversation. Guess what? The future has arrived, and most of us didn't even notice. In any case, the International Space Station (ISS) is visible from most places on earth, if you know exactly where and when to look for it. The SatPasses site at <> gives information on when the ISS passes over a number of North American cities, including Toronto. The data is arranged in lists that show three weeks worth of orbits at a time. Of particular interest are the visibility codes that indicate spacecraft lighting conditions when the station passes overhead. The ISS is most visible shortly before sunrise or after sunset, when it's in sunlight, but the ground is in shadow. The visibility codes make those orbits easy to find. NASA has similar information on their Human Spaceflight site at <> (follow the "Sighting Opportunities" link under "Realtime Data"), but the listings are far less detailed. On the other hand, the NASA sight does have a wealth of other data about the ISS, as well as historical information about their earlier manned spaceflight programs.


Remember all those great cover stories that ran in Popular Science magazine in the 1950s? The ones that predicted that by the 21st century we'd all be living in domed cities, riding on moving sidewalks, and com­muting to work in flying cars? So maybe the future hasn't arrived after all, but Moller International is working to change that. In business since 1983, their stated purpose is to "to develop and put into use personal transport vehicles that are as safe, efficient, affordable and easy‑to‑use as automo­biles." They intend to so this by manufacturing and marketing personal vertical takeoff and landing (VTOL) air­craft, which they call "volantors." Their website at <> shows a number of suitably exotic prototypes. I especially like the M150 Skycar, an amazing single‑seat, two‑engine volantor that will fly at a maximum speed of 600 km/hr. Of course, the most amaz­ing thing of all about Moller International may be the fact that, after 18 years in business, the only products they actually seem to have for sale are scale models and t‑shirts…


Have you bought a GPS (Global Positioning System) device, only to find yourself wondering what to do with it? If so, then you should check out the Degree Confluence Project at <>. The goal of the DCP is to have participants visit each of the latitude and longitude integer degree intersections on earth. The site contains pictures taken at each visited location, along with a brief written description of the area and the effort it took to get there. Since lines of longitude get closer together as you approach the poles, the project only requires pictures taken at two out of every three points of intersection above 48° lat­itude, and one out of every two above 65°. Eliminating the points of intersection that lie on water, out of the sight of land, reduces the number further, but that still leaves over 11,500 places to visit, photo­graph and write about. The site is updat­ed frequently, so it's worth stopping by on a regular basis: it's full of interesting sto­ries and spectacular photographs. (Check out the pictures of the Swiss Alps taken at 47° N, 9° E). There's also lots of informa­tion for potential participants, including a world map mosaic to give you a quick idea of which intersections are still avail­able. Many of the "easy" ones have already been visited, so future updates should become more and more interesting.


Movies come and movies go, but few are as highly anticipated as a pair of films scheduled to open later this year. On November 16, Warner Brothers will release Chris Columbus's adaptation of J.K. Rowling's Harry Potter and the Philosopher’s Stone, to the delight of 10-year olds everywhere (and possibly a few adults, as well.) The movie's official web­site is located at <>. However, the interest surrounding Harry Potter is nothing compared to the buzz that's building for Peter Jackson's adapta­tion of J.R.R. Tolkien's The Lord of the Rings. On December 19, New Line Productions debuts The Fellowship of the Ring, with the second and third parts of the trilogy due to follow in 2002 and 2003, respectively. The official site for this one is at <>. Both sites will give you an advance glimpse at the cast and the sets, behind-the-scenes photos and information, interviews, downloadable trailers, and (of course) a chance to purchase Official Merchandise. As might be expected, these state‑of‑the‑art sites are graphically intensive, so don't even think about visiting them unless you've got a high‑speed connection, and/or a lot of patience.


Jim Pattison, Vice Chair


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© 2000 Friends of the Merril Collection