In the lobby, I found an arrow-shaped sign that said, "MEDUSA CLUB."
The Medusa Club is, loosely speaking, an association for professional science fiction writers. No two of them will agree on what science fiction is—or on anything else—but they all write it, or have written it, or pretend they can write it, or something. They have three kinds of meetings, or two and a half. One is for club politics, one is for drinking, and the third is also for drinking, only more so. As a rule, they meet in people's apartments, usually Preacher Flatt's or Ray Alvarez', but every year at this time they rent a hotel ballroom and throw a whingding. I'm a member in bad standing; the last time I paid my dues was in 1950.
Rod Pfehl (the P is silent, as in Psmith) was standing in the doorway, drunk, with a wad of dollar bills in his hand. "I'm the treasurer," he said happily. "Gimme." Either he was the treasurer, or he had conned a lot of people into thinking so. I paid him and started zigzagging slowly across the floor, trading hellos, looking for liquor.
Tom Q. Jones went by in a hurry, carrying a big camera. That was unusual; Tom Q. is head components designer for a leading radio-TV manufacturer, and has sold, I guess, about two million words of science fiction, but this was the first time I had ever seen him in motion, or with anything but a highball in his hand. I spotted Punchy Carrol, nut-brown in a red dress; and Duchamp biting his pipe; and Leigh MacKean with her pale protoNordic face, as wistful and fey as the White Knight's; and there was a fan named Harry Somebody, nervously adjusting his hornrims as he peered across the room; and, this being the Christmas Party, there were a lot of the strangest faces on earth.
Most of them were probably friends of friends, but you never knew; one time there had been a quiet banker-type man at a Medusa meeting, sitting in a corner and not saying much, who turned out to be Dorrance Canning, an old idol of mine; he wrote the "Woman Who Slept" series and other gorgeous stuff before I was out of knee pants.
There were two blue-jacketed bartenders, and the drinks were eighty-five cents. Another reason I moved to the country is that the amusements are cheaper. Nursing my collins, I steered around two broad rumps in flounced satin and ran into Tom Q. He snapped a flashbulb in my face, chortled something, and went away while I was still dazzled. Somebody else with a lemon-colored spot for a head shook my left hand and muttered at me, but I wasn't listening; I had just figured out that what Tom had said, was, "There's no film in it!"
Somebody fell down on the waxed floor; there was a little flurry of screams and laughter. I found myself being joggled, and managed to put away an inch of the collins to save it. Then I thought I saw Art Greymbergen, my favorite publisher, but before I could get anywhere near him Carrol's clear Sunday-school voice began calling, "The program is about to begin—please take your seats!" and a moment later people were moving sluggishly through the bar archway.
I looked at my watch, then hauled out my copy of the little mimeographed sheet, full of earnest jocularity, that the club sent out every year to announce the Party. It said that the program would begin somewhere around 10, and it was that now.
This was impossible. The program always pivoted on Bill Plass, and Bill never got there, or anywhere, until the party was due to break up.