Some Remaining Details In "Earthman, Beware!"

I list details in Poul Anderson's stories, as in the previous post, because the details are ingenious and because I would soon forget them if I did not write them down.

Four concluding comments on "Earthman, Beware!":

(i) One sentence in this story contains a phrase that became important in a later Anderson series:

"The long night wore on."

(Alight In The Void, New York, 1993, p. 45)

(ii) In the first seven pages of the story, Peggy has tracked Joel to his Alaskan cabin. So far, the story could have had a contemporary setting although with the science fictional elements of Joel's partial telepathy and his robot chef invention. Then suddenly, Joel thinks:

"Maybe he should have gone to Mars or some outer-planet satellite." (p. 36)

With this sentence, we are wrenched into a futuristic scenario where interplanetary travel is routine. We are used to such scenarios in science fiction but are usually given notice of them earlier in a story. Two pages further on, we are informed that Joel invented the ion-jet space drive so it seems that he is responsible for interplanetary travel.

(iii) A single word can trigger an entirely accidental association in one reader's mind. Joel's human foster parents were called not Kent but Weatherfield. I live on Blades St in the city of Lancaster in the county of Lancashire. Since December 1960, a British TV series has shown the denizens of Coronation Street in the fictitious town of Weatherfield, Lancashire. (Apparently, Weatherfield is a hour by motorway from Lancaster. If only I knew which direction to drive in...) So maybe the foster parents' ancestors came from the North West of England...

(iv) When, in the very last sentence:

"Dr Joel Weatherfield, eminent young physicist, rose cheerfully and began making ready to go home." (p. 60)

- he has been made to forget his personal cosmic connection. We are Joel. We are all connected to the cosmos and are usually unaware of it.

The Same Ultrawave

For previous blog posts about "Earthman, Beware!" see here.

"...the concept of waves was hardly applicable to something that traveled with an 'infinite velocity'..." (p. 52)

Indeed. And the very next comment is that "infinite velocity" is:

"...a poor term semantically, but convenient." (ibid.)

Anything that travels from A to B instantaneously either extends from A to B or exists at both A and B but not at intermediate points simultaneously.

Joel reflects that:

"...ultrawave effects...did not appear unless there was a properly tuned receiver somewhere. They seemed somehow 'aware' of a listener even before they came into existence." (ibid.)

Ramacan in "The Star Beast" explains that:

the ultrawave is "'...not electromagnetic...'" but "'...ties in with wave mechanics...'" (p. 72);

"'...it's 'aware' of the receiver and only goes to it. There must be a receiver as well as a transmitter to generate the wave.'" (p. 73)

This establishes that Joel and Ramacan refer to the same ultrawave.

Joel discovers it and Ramacan says that it:

"'...was discovered - oh, it must be a good seven or eight hundred years ago now.'" (p. 72)

I have not quite reread to the end of "Earthman, Beware!" yet. The implication of this story might be that the ultrawave is not remembered on Earth after Joel's discovery of it. But what has been discovered once can be discovered again.

One More Detail in "Earthman, Beware!"

I should have remembered this phrase before:

"...the solipsistic loneliness in which humans wandered from their births to the end of their brief meaningless lives."

(Poul Anderson, "Earthman, Beware!" IN Alight In The Void, New York, pp. 29-60 AT p. 56)

This is not Poul Anderson speaking. It is his stranded alien, Joel Weatherfield, momentarily disparaging humanity. In his better moments, Joel does see value, eg, in the life of his human friend, Peggy.

More importantly, we are not "solipsistic" because we genuinely communicate, and would not otherwise become self-conscious. Our lives require no external authority to bestow meaning on them. We value our existence and only conscious beings can value anything.

So our lives are brief - "brief" is a comparative term but, in comparison with many things, yes, they are brief - but they are far from meaningless and this should be affirmed because too casual a use of the term "meaningless" can only demoralize.  

Earthman, Beware!

Poul Anderson's "Earthman, Beware!," collected in his Alight In The Void (New York, 1993), is a superman story though not a Superman story. It is not about Kal-El from Krypton but is about a superior humanoid extraterrestrial found in a grain field as a baby and adopted by "...an elderly local couple, childless and kindly." (p. 40)

This story was published in 1951, just twelve years after the first installment of Superman. Did Anderson consciously mimic the origin of Clark Kent or did these circumstances just seem appropriate to him as they had to Jerry Siegel?

Anderson's superman, Joel Weatherfield:

like Kal-El and Jor-El, has a name meaning "God";

at age six, patented, in his foster father's name, farm machinery improvements that enabled his parents to buy any books or equipment that he wanted instead of sending him to school;

soon devised a wig to conceal his permanent baldness;

conceals other bodily differences beneath clothes;

entered Harvard at thirteen;

graduated with every honor at fifteen;

invented the ion-jet space drive, the controlled-disintegration ion process, the cure for the common cold, the crystalline-structure determination of geological age and a robot chef;

won the Nobel prize in physics for his relativistic wave mechanics;

pioneered a new branch of mathematical series theory;

in his youth, wrote brilliantly on archaeology, economics, ecology and semantics;

founded new schools in painting and poetry;

has an immeasurable IQ;

controls an errand-running cat by whistling;

developed an X-ray technique for photographing different layers of tissue just to study himself;

used a variation of his crystalline-structure method to determine that his deceased mother was at least five hundred years old;

has a heart with more functions than its human counterpart;

has a better organized brain, preventing insanity;

has, in the brain,  a "telepathy center," sensitive to neural currents in other organisms;

has developed limited telepathy by comparing human reactions and words with detected emanations;

can also emit emanations although no human being can detect them;

quickly predicts any acquaintance's reactions and verbal responses;

knows their feelings better than they do;

has a cerebral center for voluntary control of pain, endocrine regulation etc, but has not learned to use it effectively;

has not learned what some other centers are for;

became a multimillionaire in five years;

discovered a radiation unrelated to electromagnetism that will be the subject of a further post;

thus, is homo superior in many ways that were beyond the imagination of Jerry Siegel - Superman's models were the Biblical and Classical strong men, Samson and Hercules.

Not Clark Kent But Joel Weatherfield

Poul Anderson, "Earthman, Beware!" IN Anderson, Alight In The Void (New York, August 1993), pp. 29-60.

Can a humanoid being with superior sensory powers and intelligence come from an extra-solar planet and live on Earth, passing himself off as a human being? I would say definitely not. Quite apart from the problems of crossing an interstellar distance and entering the Solar System undetected, evolution on another planet is not going to produce anything that looks remotely like us. Yet this proposition is the premise not only of Superman but also Poul Anderson's "Earthman, Beware!"

In Anderson's "Starfog," Daven Laure is satisfied that the Kirkasanters are human - or, at least, are of human descent - because of their detailed physical resemblance except, of course, for expectable racial differences. Joel Weatherfield does not resemble us in every detail but is close enough to carry off the deception. We just have to accept this as the kind of sf that was written in the 1950's. I don't think that Weatherfield arrived in a spaceship but will have to reread to check.

(Retold stories are updated. In 1938, Superman arrived, as a baby, in a small spacecraft. In the twenty-first century, such a craft would have been detected approaching Earth - except that it arrived as one small part of a massive meteor shower!)

Previous Posts

I have been reading Poul Anderson's Alight In The Void which collects:

"Terminal Quest"
"Earthman, Beware!"
"The Star Beast"
"Son of the Sword"
"Flight To Forever"

I have commented on the first four in recent posts and posted a two-part Chronology of "Flight to Forever" on June 30 and July 1, 2012. "Flight to Forever" is, appropriately, the culminating story of Anderson's time travel collection, Past Times. Therefore, when Anderson's short story collections are rationalized, it need not also appear in any other volume such as Alight In The Void.

When discussing "Earthman, Beware!," (here) I referred to an earlier post on Anderson's Brain Wave. That was "The Galactic Connection," June 15, 2012.

"The Star Beast" raises the issue of the social consequences of universally distributed abundant wealth. This and similar or related issues were discussed in earlier posts:

April, 2012
"Issues In Mirkheim"
"Something Is Rotten In Technic Culture?"
"Interstellar Wealth"
"Organic And Post-Organic"
"The Commonalty"

June, 2012
"Thulean Economics"
"Serious Issues"
"Judgment Day Economics"
"Starfarers Economics"

August, 2012
"Demetrian Economics And Ecology"
"Questions And Comments"

The Ultrawave Series

If a series is more than one work, thus at least two works, then maybe I have found an "ultrawave series" by Poul Anderson. "Earthmen, Beware!" and "The Star Beast" depend on different applications, mental and technological, of an "ultrawave," which is very similarly described in both stories although I have found one difference:

"'The important thing is that these effects are transmitted with no measurable time lag...'"

("Earthman, Beware!" IN Anderson, Alight In The Void, 1993, pp. 29-60, AT p. 46)

"The transmitter field was generated. At the speed of light, Harol flashed around the world..."

("The Star Beast" IN Alight In The Void, pp. 61-102, AT p. 66)

However, maybe the superhuman Joel Weatherfield detected a deeper level of the ultrawave? According to his account, which mostly matches "The Star Beast":

ultrawave radiation is unrelated to electromagnetism;

vibrating energy fields produce detectable effects without time lag in similar apparatuses elsewhere (this sounds like James Blish's instantaneous Dirac transmitter);

in order to attract his people to Earth, the stranded alien Joel broadcasts pulses representing stars, with intensity standing for absolute brightness and time separation standing for distance;

however, receiving no reply, he realizes that he must instead use his telepathy which turns out to be another part of the ultrawave spectrum.

There is more but it is proving difficult to unravel at nearly midnight so further discussion of the ultrawave will have to be postponed till a later post.

Krypton, Chereion And Time

I could present this as a Christmas Quiz question but it is highly obscure. What do Poul Anderson's characters, Joel Weatherfield, Jack Havig, Hugh Valland and Aycharaych, have in common? This blog has, in different ways, compared each of these characters to Superman.

See:

Earthman, Beware!

Superheroes In SF 

Hugh Valland And Superman

Not A Telephone Booth 

Kryptonians And Chereionites

 

Aycharaych's universal telepathy is a major super-power and he could empower himself further technologically, e.g, flight with a gravbelt and invulnerability with a force field. Several superheroes are empowered only by superior tech.

Joel's Physics And Psychology

 

"Earthman, Beware!"

Joel describes his attempt at interstellar communication:

"'Energy fields vibrating a certain way produce detectable effects in a similar setup well removed from the first... these effects are transmitted with no measurable time lag or diminution with distance.'" (p. 46)

Two Observations

(i) This sounds exactly like James Blish's instantaneous Dirac transmitter.

(ii) When Margaret/Peggy hears Joel's account, she comments:

"'I see. It's a sort of ultrawave.'" (ibid.)

But it sounds like action at a distance and not like a wave. Joel had intially said:

"'...you might call it radiation, though it has no relation to the electromagnetic spectrum.'" (ibid.)

But radiation crosses space - and at finite speed - between two "setups" whereas what Joel describes is an instantaneous remote effect.

When Joel reflects not on physics but on psychology:

"Humans were that way, groping through a darkness of solitude, calling to each other across abysses and never, never understanding." (p. 32)

That is how we appear to someone with his insight and mental abilities but it is also a one-sided account. If solitude and lack of understanding were absolute, then there would be no communication and therefore also no self-consciousness.

A Timeline And A Forest

Four stories collected in Poul Anderson's Alight In The Void could be set in a single timeline:

"Son of the Sword" is set in the past;

"Earthman, Beware!" is set in the present with aliens using the ultrawave;

"Terminal Quest" is set in the future with slower-than-light interstellar travel and extra-solar colonization;

"The Star Beast," as in "Terminal Quest" but with people on Earth now using the ultrawave.

(British sf author, Bob Shaw, once told another fan, "Paul sees order where it isn't.")

In "The Star Beast," when Harol has become a tiger:

green mystery;

sunlight and shadow;

rioting ferns and flowers;

huge, old trees;

tinkling brooks;

mossy banks;

leaping fish;

wind in grass;

dimmed eyesight;

humming, chirring insects;

rustling leaves;

warm breeze;

owl's wings;

small scurryings;

fragrant grass;

pungent decay;

wild fur;

spilled blood;

quivering whiskers;

strong muscles;

cold moonlight;

luminescence;

damp earth;

etc.

Superheroes

I said all this before but so long ago that it might bear repetition. The first superhero, Superman, was sf because his origin was scientific and extra-terrestrial. However, his main competitor, Captain Marvel, was fantasy because his origin was supernatural or magical. But such characters can coexist. Superheroes became a new composite genre, combining elements of sf, fantasy and action-adventure fiction. The Batman is the most versatile of fictional characters. The main medium for superheroes was sequential art until CGI was developed.

Sf still contains elements of the superheroes that have split off from it:

a mentally powered brotherhood resisting extra-solar invaders in James Blish's "Citadel of Thought";

Joel Weatherfield in Poul Anderson's "Earthman, Beware!";

The Un-men and the Sensitive Man in Anderson's Psychotechnic History;

Gil the ARM Hamilton and the protectors in Larry Niven's Known Space future history;

Jack the Bodiless and Diamond Mask in Julian May's Galactic Milieu Trilogy.

Un-men and Sensitive Men could have been a forever series. Both would adapt well to screen.

Common Humanity

I suppose that what is common to nearly all fiction and literature is humanity: human beings interacting with each other or their environment. I have to write "nearly" because it is always possible to think of exceptions. Poul Anderson's "In Memoriam" begins with the death of the last man on Earth, then recounts the subsequent course of natural events. Anderson's "Earthman, Beware!" is narrated from the point of view of an alien stranded on Earth and his "Terminal Quest" is narrated from the point of view of a native of a human-colonized extra-solar planet. Sometimes in Anderson's Technic History, we read an Ythrian or Merseian point of view. However, since all such beings are self-conscious rational animals, they are clearly based on humanity despite Anderson's skill in imagining alien perspectives. The opening passage of his Mirkheim describes an ancient supernova but only because of its later consequences for interstellar civilization.

Summarizing the plots of widely dissimilar fictional works, we recognize their common humanity:

in Anderson's The Peregrine, the alien Alori attempt to subvert human nature;

in Stieg Larsson's Millennium Trilogy, a rogue Section of Swedish Security commits murder;

in Susan Howatch's Glamorous Powers, an Anglican Abbot recounts his mystical visions to the Head of his Order.

Sources Of Super Powers

"The Sensitive Man."

Elena Casimir wonders whether Simon Dalgetty's special powers mean that he is a mutant, an android or an alien.

The first superhero was an extraterrestrial as is Joel Weatherfield in Poul Anderson's "Earthman, Beware!"

The X-Men are mutants as are Anderson's Twilight Worlders, so to call them, and his Jack Havig.

Some superheroes are androids, others are men with special equipment and still others are magical or supernatural beings. We can find counterparts to most of these in Anderson's works.

Ultrawaves And Telepathy

In Poul Anderson's "Earthman, Beware!" (IN Anderson, Alight In The Void, New York, 1993, pp. 29-60):

neuronic activity generates short-range brain pulses that are measurable by encephalographs but not directly related to telepathy;

telepathy, part of the ultrawave spectrum, crosses space without time lag;

spatio-temporal geometry generates gravity from matter and ultrawaves from vibrating energy;

however, an ultrawave is generated only when there is both a transmitter and a receiver;

an ultrawave's frequency is that of its generating fields but infinite velocity would generate an infinite wavelength so the wavelength should be conceived in terms of tensors;

ultra-energies are omnipresent in the cosmic structure;

the telepathy center of a super-human brain can impose vibrations on it;

other centers control ultra-energy to create, destroy or move matter, cross space, scan the past or scan future possibilities;

when the stranded alien, Joel, telepathically contacts his people, several of them immediately come physically to Earth across what might be millions of light years, from another galaxy.

When discussing Anderson's Brain Wave in an earlier post, I commented that sf can show our place in the galaxy without necessarily having human beings travel physically into the galaxy. Here is another example of that.

Maybe the ultra-energy is what the Black Nebulans and the Chereionites access in Anderson's Technic Civilization History.

Without Technology

Space Travel Without Spaceships
The Galactics in Poul Anderson's "The Chapter Ends."
The Black Nebulans in Anderson's "Sargasso of Lost Starships."
Joel Weatherfield in Anderson's "Earthman, Beware!"
Superman.

Time Travel Without Time Machines
There Will Be Time.
"The Man Who Came Early."
"Missing One's Coach."
A Connecticut Yankee.
Jack Finney's two novels and most of his short stories.
Richard Matheson's Bid Time Return.
Audrey Niffeneger's The Time Traveler's Wife.
L Sprague de Camp's Lest Darkness Fall.
Alison Uttley's A Traveler In Time.
Philippa Pearce's Tom's Midnight Garden.
SM Stirling's Nantucket Trilogy.

As usual, more than you might think.

Alaskan Forest

"Earthman, Beware!"

OK. What do we have here?

This viewpoint character can detect things that we cannot. With "Something in his brain...," (p. 29) rather than with additional sense organs, he detects, as he approaches his cabin, metal, oil, rubber and plastic which he identifies as a newly arrived helicopter. There are also fragments of thought, nervous energy and cellular and molecular interactions. He identifies these "...vibrations of human presence..." (p. 30) as a single person and, more specifically, as an acquaintance named Margaret. This telepath (?) is an inventor who has devised an odourless repellant that keeps mosquitos away from his cabin.

Poul Anderson describes the "darkling" Alaskan forest in which:

"A faint evening breeze rustled the dark pines..." (ibid.)

The breeze is faint. Nothing threatening yet! However, our multi-talented hero is saddened, annoyed and dismayed by Margarets' arrival. Read on.

We discover yet again that it is possible to reread a story by Poul Anderson and to find many forgotten and interesting details. 

This has been yet another breakfast post, folks. 

Some Details In The Game Of Empire

Targovi calls Diana "'...little friend of the universe...'" (Poul Anderson, Flandry's Legacy, p. 244), another echo of "'...The Friend of all the World...'" (Rudyard Kipling, Kim, p. 6).

Axor wants "'...to know the truth - whatever the truth may be.'"  (Anderson, op. cit., p. 210) Targovi wants to "'...uncover the truth, whatever the truth may prove to be.'" (p. 247) However, Axor refers to theological truth whereas Targovi refers to military intelligence. These truths could not be more different yet both are parts of the truth.

Axor travels between the stars because he seeks the truth about the Universal Incarnation. Diana accompanies Axor because she wants to travel between the stars. Targovi accompanies them because their theological quest will provide cover for his intelligence work. Yet both Diana and Targovi are good enough not to mislead Axor. They do in fact guide him towards sources of information for his quest.

Comments on a recent post referred to Poul Anderson's "Earthman, Beware!" Searching the blog revealed several posts about this story. See here.

Pulps

Poul Anderson, Alight In The Void (New York, August 1993):

Acknowledgments, p. v

Contents, p. vii

Introduction: "Tell Me a Story" pp. ix-xiii

OK. I got confused but then got straightened out by googling.

According to the Acknowledgments:

"Terminal Quest" (1951)

"Earthman, Beware!" (1951)

"The Star Beast" (1950)

"Flight to Forever" (1950)

- were published in Super Science Stories and:

"Son of the Sword" (1951)

- was published in Adventure Magazine.

The Introduction names several pulp magazines:

Thrilling Western Stories

Black Mask Detective Stories

Astounding Stories of Super-Science

- and informs us that this volume collects some of Poul Anderson's contributions to pulp magazines.

My confusion became: what is the relationship between -

Super Science Stories

Astounding Stories of Super-Science

John W. Campbell's Astounding/Analog?

The answers are that:

in January, 1930, Astounding Stories of Super-Science began publication;

in February, 1931, the name was shortened to Astounding Stories;

in March, 1938, John W. Campbell, Jr., became editor and changed the name to Astounding Stories of Science-Fiction;

between January and October, 1960, Campbell changed the name to Analog Science Fact/Science Fiction;

Super Science Stories was a different and unrelated magazine.

See also the relevant Wikipedia articles:

Analog Science Fiction and Fact

Super Science Stories

I did not know that this was going to become that complicated.

Significant Dates

1925 other galaxies recognized
1926 birth of Poul Anderson
1929 cosmic expansion discovered
1938 Superman published
1947 "Tomorrow's Children" by Poul Anderson and F.N. Waldrop
1947 "Chain of Logic" by Poul Anderson
1949 my birth
1951 "Tiger By The Tail" by Poul Anderson
1951 "Honorable Enemies" by Poul Anderson
1951 "Sargasso of Lost Starships" by Poul Anderson
1952 Vault Of The Ages by Poul Anderson
1952 "The Star Plunderer" by Poul Anderson
1953 Three Hearts And Three Lions by Poul Anderson
1954 Brain Wave by Poul Anderson
1954 The Broken Sword by Poul Anderson
1954 "Ghetto" by Poul Anderson
1954 "The Warriors from Nowhere" by Poul Anderson
1954 Question And Answer by Poul Anderson
1954 "The Sensitive Man" by Poul Anderson
1955 "Time Patrol" by Poul Anderson
1955 "Delenda Est" by Poul Anderson
1955 No World Of Their Own by Poul Anderson
1956 "Margin of Profit" by Poul Anderson
1956 Star Ways by Poul Anderson
1957 Earthman's Burden by Poul Anderson and Gordon R. Dickson
1957 "Memory" by Poul Anderson
1957 "Brake" by Poul Anderson
1958 The Snows Of Ganymede by Poul Anderson
1958 "The Man Who Counts" by Poul Anderson
1958 War Of The Wing-Men by Poul Anderson
1958 "The Game of Glory" by Poul Anderson
1959 Virgin Planet by Poul Anderson
1959 "Brave To Be A King" by Poul Anderson
1959 "The Sky People" by Poul Anderson
1959 "Hunters of the Sky Cave" by Poul Anderson
1959 "A Message in Secret" by Poul Anderson
1959 The Enemy Stars by Poul Anderson
1959 Perish By The Sword by Poul Anderson
1959 The War Of Two Worlds by Poul Anderson
1960 "The Only Game In Town" by Poul Anderson
1960 Guardians Of Time by Poul Anderson
1960 "The Plague of Masters" by Poul Anderson
1960 "A Twelvemonth And A Day" by Poul Anderson
1960 The High Crusade by Poul Anderson
1960 Murder In Black Letter by Poul Anderson
1960 The Golden Slave by Poul Anderson
1960 Rogue Sword by Poul Anderson
1961 "Progress" by Poul Anderson
1961 "Children of Fortune" by Poul Anderson
1961 "Epilogue" by Poul Anderson
1961 Twilight World by Poul Anderson
1961 Strangers From Earth by Poul Anderson
1961 Orbit Unlimited by Poul Anderson
1961 "Hiding Place" by Poul Anderson
1962 Un-Man And Other Novellas by Poul Anderson
1962 After Doomsday by Poul Anderson
1962 The Makeshift Rocket by Poul Anderson
1962 Murder Bound by Poul Anderson
1963 "Territory" by Poul Anderson
1963 Shield by Poul Anderson
1963 Is There Life On Other Worlds? by Poul Anderson
1964 Three Worlds To Conquer by Poul Anderson
1965 The Corridors Of Time by Poul Anderson
1965 The Star Fox by Poul Anderson
1963 Let The Spacemen Beware by Poul Anderson
1963 "The Three-Cornered Wheel" by Poul Anderson
1963 "Homo Aquaticus" by Poul Anderson
1964 "The Master Key" by Poul Anderson
1964 Three Worlds To Conquer by Poul Anderson
1965 "Trader Team" by Poul Anderson
1965 The Corridors Of Time by Poul Anderson
1966 Ensign Flandry by Poul Anderson
1966 "A Sun Invisible" by Poul Anderson
1966 "Plus Ca Change, Plus C'est Le Meme Chose" by Poul Anderson
1966 "Home" by Poul Anderson
1966 "The Moonrakers" by Poul Anderson
1966 The Fox, The Dog And The Griffin by Poul Anderson
1967 "Outpost of Empire" by Poul Anderson
1967 "Starfog" by Poul Anderson
1967 "Day of Burning" by Poul Anderson
1967 "A Tragedy of Errors" by Poul Anderson
1967 World Without Stars by Poul Anderson
1967 "To Outlive Eternity" by Poul Anderson
1968 "The Sharing of Flesh" by Poul Anderson
1969 The Rebel Worlds by Poul Anderson
1969 The Infinite Voyage by Poul Anderson
1969 Seven Conquests by Poul Anderson
1970 Tales Of The Flying Mountains by Poul Anderson
1970 "Esau" by Poul Anderson
1970 A Circus Of Hells by Poul Anderson
1970 Tau Zero by Poul Anderson
1971 "A Little Knowledge" by Poul Anderson
1971 "The Queen Of Air And Darkness" by Poul Anderson
1971 The Byworlder by Poul Anderson
1971 Operation Chaos by Poul Anderson
1971 The Broken Sword revised
1972 The Dancer From Atlantis by Poul Anderson
1972 "Wings of Victory" by Poul Anderson
1972 The Day The Sun Stood Still by Poul Anderson, Gordon R. Dickson and Robert Silverberg
1973 There Will Be Time by Poul Anderson
1973 "The Season of Forgiveness" by Poul Anderson
1973 "Wingless" by Poul Anderson
1973 The People Of The Wind by Poul Anderson
1973 "The Problem of Pain" by Poul Anderson
1973 "Rescue on Avalon" by Poul Anderson
1973 "Lodestar" by Poul Anderson
1973 The Day Of Their Return by Poul Anderson
1973 "Windmill" by Poul Anderson
1973 Hrolf Kraki's Saga by Poul Anderson
1974 "How To Be Ethnic In One Easy Lesson" by Poul Anderson
1974 A Knight Of Ghosts And Shadows by Poul Anderson
1974 "My Own, My Native Land" by Poul Anderson
1974 "Passing The Love Of Women" by Poul Anderson
1974 "A Fair Exchange" by Poul Anderson
1974 Fire Time by Poul Anderson
1974 A Midsummer Tempest by Poul Anderson
1974 The Many Worlds Of Poul Anderson, ed. Roger Elwood
1975 "To Promote The General Welfare" by Poul Anderson
1975 The Winter Of The World by Poul Anderson
1975 Homeward And Beyond by Poul Anderson
1975 Star Prince Charlie by Poul Anderson and Gordon R. Dickson
1976 The Best Of Poul Anderson
1977 A World Named Cleopatra
1978 The Avatar by Poul Anderson
1979 The Merman's Children by Poul Anderson
1979 The Demon Of Scattery by Poul Anderson and Mildred Downey Broxon
1979 A Stone In Heaven by Poul Anderson
1980 Conan The Rebel by Poul Anderson
1980 The Devil's Game by Poul Anderson
1980 The Golden Horn by Poul Anderson
1980 The Road of the Sea Horse by Poul Anderson
1980 The Sign Of The Raven by Poul Anderson
1981 Fantasy by Poul Anderson
1981 Explorations by Poul Anderson
1981 The Dark Between The Stars by Poul Anderson
1981 The Psychotechnic League by Poul Anderson
1981 "The Saturn Game" by Poul Anderson
1982 Cold Victory by Poul Anderson
1982 Starship by Poul Anderson
1982 New America by Poul Anderson
1982 The Gods Laughed by Poul Anderson
1983 Conflict by Poul Anderson
1983 "Ivory, And Apes, And Peacocks" by Poul Anderson
1983 "The Sorrow of Odin the Goth" by Poul Anderson
1983 Hoka! by Poul Anderson and Gordon R. Dickson
1983 Orion Shall Rise by Poul Anderson
1984 Past Times by Poul Anderson
1984 The Unicorn Trade by Poul and Karen Anderson
1985 Dialogue With Darkness by Poul Anderson
1985 The Game Of Empire by Poul Anderson
1985 "Pride" by Poul Anderson
1986 Roma Mater by Poul and Karen Anderson
1987 Gallicenae by Poul and Karen Anderson
1987 Dahut by Poul and Karen Anderson
1988 The Dog And The Wolf by Poul and Karen Anderson
1988 The Year Of The Ransom by Poul Anderson
1989 The Boat Of A Million Years by Poul Anderson
1990 The Shield Of Time by Poul Anderson
1991 "Star of the Sea" by Poul Anderson
1991 "Inconstant Star" by Poul Anderson
1991 The Time Patrol by Poul Anderson

Stop! This is not a complete list and was never intended to be such a long list. I have stopped temporarily only because I am not, at this time of night, finding any title that was published in 1992. The list so far shows:

(i) the dates of two important discoveries that underlie all subsequent sf;

(ii) the date of Superman who started as sf although he initiated a new genre (his alien menagerie is comparable to the one in Anderson's "Hiding Place" (1961));

(iii) for comparison, the year of my birth (blog readers can add theirs);

(iv) an unbroken record of Poul Anderson publications from 1951 until 1991 - and there was more after that.