For Don Wollheim's magazines, Cyril wrote from his youthful yet strangely world-matured heart. The two Futurians enjoyed a particularly close relationship for a time, with Wollheim sometimes a mentor-father figure, sometimes an equal. In his magazines, moreover, Wollheim proved to be Cyril's greatest early booster, giving "Cecil Corwin" the minor celebrity among science-fiction pulp readers that Cyril Kornbluth, or "Cy Kornbluth," already enjoyed in the small but international science-fiction fan community. An important result of their relationship took the form of collaborations, in which Don conceived a story line for Cyril to flesh out. Some among their collaborations may have escaped biographers because of the now-reigning assumption that the Martin Pearson penname refers primarily to Wollheim. I did uncover one definite instance of this. How many others there are remains to be discovered. Since one Wollheim-Kornbluth tale saw publication in John W. Campbell, Jr.,'s celebrated Astounding, these may well be Kornbluth's most significant early collaborations.
In one of my many failings in writing Kornbluth, I left the Wollheim angle less than fully explored. Similarly the Lowndes angle — and the Johnny Michel, Knight, Algis Budrys, Blish, Jane Roberts, Larry Shaw angles ... and so on. Despite my intention otherwise, I toiled so heavily on questions related to what Pohl was leaving out of his accounts that my attention inadvertently remained turned toward him, not away. Researching in Syracuse would have freed me of this, had that event fallen earlier in the process. Working on materials from Syracuse, DeKalb, the Eaton Collection, and the Oxford Bodleian so absorbed me in the spring of 2009, however, that precious little time, let alone means, remained to pursue the new research directions opening before me.
I was also facing the real problem of having arrived at this point — the point where I knew what questions to ask — too late. In the years before Lowndes' death, I failed to fully grasp how many pertinent subject areas his memory might have touched upon. By 2009, death had removed him from the scene, as it had Merril, Kidd, Knight, Budrys, and Robert Sheckley. All were alive when I offered the world my Kornblume round table. Infirmity had removed Pohl from the scene, too, by this time: for when I called to arrange an interview, I learned he was hospitalized for an unknown length of time. Whether he would have granted me an interview I have no idea. A few years before, at a convention, he had turned down my request for an interview on the subject of Cyril. More tellingly, as had taken me fifteen years to realize, from the outset he had met my question about archived Kornbluth correspondence with silence — a silence presumably not born of ignorance.
A few among Cyril's various colleagues and contemporaries remained, fortunately — such as Klass, Silverberg, Dave and Ruth Kyle, Carol Emshwiller, Bob Madle, and Kate MacLean — who helped me put pieces of the puzzle, small and large, into place. I felt and feel immensely grateful to these generous souls.
End, Part Five.
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