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Amit Kalantri

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“While I'm writing you I might mention the new novel I'm considering writing; it has to do with the phonograph record business, which I was involved with, at the retail end, for over seven years. I guess I'll make it a S-F novel, though, setting it in the future. My memory tapes (so to speak) have few if any gaps in them about my years in the record business, what with the rip-offs and payola. The small profits for the retailer, the huge chains that are wholesalers-retailers who crowd out the little guy. Provisionally, I will call the record company DOGSHIT RECORDS INC. (Or DRI, as they have now EMI, RCA, MCA, etc.) In my head I've blocked out the tory of an android who has an agent who is another android, but neither knows the other is an invader. (There is a sort of mutual surprise ending, but the main thing is to lay forth the inner workings of an industry for our readership, in a novel of the sort I tend to write and they tend to read.) The musical artist's agent is named (are you ready?) Skim Morewithit, and so forth. There are rip-offs of royalties, two sets of books, all the usual stuff you find today and yesterday in the record business. As to locale, I haven't decided. Maybe on Jupiter, because it will be a (ahem) heavy novel.”

Unfinished WorkStory Ideas
Book:The Selected Letters, 1974
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“Anyhow, I've begun on the story we discussed. I will not refer specifically to what you said, but I've decided that it will have as its author Hawthorne Abendsen, the novelist in my novel MAN IN THE HIGH CASTLE who wrote THE GRASSHOPPER LIES HEAVY. I wrote & wrote . . . after all, I wrote my 4th novel EYE IN THE SKY in two weeks, so this merely shows I'm in love with what I'm doing. The title of Abendsen's yarn is, "A Man For No Countries," because he is unwanted in the USA where the Asshole Axis rule, and certainly not in Europe where Germany rules from . . . I did bio notes, the uncorrected carbons of which I'm enclosing; they were improved in a second draft, and can/will be cut as needed. And, as to the story, I finished the holographic first draft last night about the time our tomcat Pinky wants indoors to be fed, which is quite late, and at which time nothing, even Pinky, gets me out of bed. It is a short story, but I think a lot of it, Phil. I really do, and when I turn out a lousy one I usually know it and the other way around. I'll send you a carbon of the final, not of the rough, since the rough is in holo. Now, a technical problem. To whom do I send the yarn when I'm done? By contract, it must be to Scott Meredith; that is determined by law. But my own name must be on it, on the far left upper corner, not under the title, so he can see who sent it, and hence pay me. That is, receive pay. Who does pay, by the way? Ed Ferman or whoever buys it (if anyone)? Does it just go onto the market like all stories, OR—and this is crucial, maybe—should I mention to Scott Meredith that you should be involved . . . without mentioning certain details held in confidence between us? How do I handle it? I will sell it, in any case; I wrote MAN IN THE HIGH CASTLE in 1961 and ever since "they" have begged (well, asked me) to do more as a sequel. This story is in fact a follow-up, of Abendsen's life since, besides being an intrinsic plot-idea-theme story. So it'll sell, and Ed Ferman does like my stuff; he has commissioned a set of three stories from me, the last three I have done, including one for FINAL STATE or EDGE or whatever with Malzberg, and so would tend to want to buy it. So advise me, as I type up the final. And thanks for getting my literary ass in gear; God bless, Phil. [The story was never completed or published.]”

Unfinished WorkMan In The High CastleLost Work
Book:The Selected Letters, 1974
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“That book of [Melancthon], to my mind, deserves not merely to live as long as books are read, but to take its place in the Church canon; whereas your book, by comparison, struck me as so worthless and poor that my heart went out to you for having defiled your lovely, brilliant flow of language with such vile stuff. I thought it outrageous to convey material of so low a quality in the trappings of such rare eloquence; it is like using gold or silver dishes to carry garden rubbish or dung.”

InsultLiterary CriticismPolemics
Book:The Bondage of the Will
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“…the importance of the study of Western esotericism goes far beyond a mere “academic interest” in some historical currents and ideas that happen to have been neglected by earlier generations. On the contrary, this domain of research should be recognized as centrally important to historians of religion and culture because it is only by virtue of excluding its basic components—as imagined in the polemical imagination—from the realm of the acceptable that Western culture as such has been able to define its very identity. If I am correct in arguing that the most essential components of that identity are at bottom polemical concepts, it follows that we cannot understand them in isolation, as if they exist in and for themselves. Instead, we need to understand the dynamics of the underlying discourse that created them; and this, in turn, requires us to try and step outside the latter and analyze it from a neutral point of view.”

PolemicsReligious History2005Western Esotericism
Book:Forbidden Knowledge: Anti-Esoteric Polemics and Academic Research
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