HUNTING LAKE
                                by Mike Resnick
  
  
In my life, I have written a grand total of three fan letters 
to writers. One of the recipients, Barry Malzberg, became my 
closest friend and occasional collaborator. Another, humorist Ross 
Spencer, also became a good friend. The third was African writer 
Alexander Lake, who died on Christmas Day, 1961, a month before I 
wrote to him. I've always regretted not meetiing Lake, who has 
been virtually forgotten by the American reading public, despite a 
number of bestsellers. 
     I recently moved THE RESNICK LIBRARY OF AFRICAN ADVENTURE 
from St. Martin's Press over to Alexander Books, an offshoot of 
WorldComm Press. The primary reason was to bring Lake back into 
print. 
     Sounds simple, right? I mean, hell, all editors do is sit on 
their judgment all day and see what comes in the mail. 
     Well, sometimes it's not _quite_ that easy. Take Lake, for 
example. 
     Hell, take the whole damned chronology: 

     1954: I buy the paperback edition of KILLERS IN AFRICA at age 
12, take it to summer camp with me, read it in its entirety once a 
week for two months. From that day to this, I am fascinated by all 
things African, I take 5 safaris, I write 13 books and 18 short 
stories set in Africa, and I never forget that it is Alexander 
Lake who awakened this passion in me. 
     1988: St. Martin's Press buys Tor Books. St. Martin's also 
publishes Peter Capstick's LIBRARY OF AFRICAN HUNTING, a series of 
classic reprints. 
     1989: IVORY becomes a Nebula and Clarke nominee for Tor right 
after SANTIAGO hits #3 on the bestseller list, and the nice people 
at Tor look about for ways to keep me happily in their stable. I 
tell them that if Capstick ever dies or gives up editing the 
Library, I want to take it over. 
     1991: St. Martin's informs me that Capstick has moved to a 
different publisher, and I can edit the Library. I tell them that 
the first two authors I want to bring back -- they've each written 
two books -- are Alexander Lake and John Boyes, a scalawag who was 
one of the Kenya pioneers and at one time was the white king of 
the Kikuyu. They reply that they'll reprint the Boyes books, which 
were written in 1910 and 1928 and are in the public domain, but 
with so many classics available for free they won't spend a penny 
to purchase the Lakes, which we all assume are still under 
copyright. I reluctantly agree -- after all, no one else is 
beating down my door to edit books about killing animals in this 
Politically Correct year of 1991 -- and I select three books, by 
Boyes, F. C. Selous, and Arthur Neumann, for publication, writing 
new introductions for each. 
     1992: WorldComm Press, which specializes in small editions of 
trade paperbacks, is feeling expansive and approaches me about 
writing a mystery novel and editing a line of mass market science 
fiction. I agree, and suggest that I'd also like to bring the 
reprint series over from St. Martin's Press, which isn't making 
any money on them anyway and would probably be happy to let them 
go, so that we can at least make an attempt to get Lake's books 
back into print. The publisher, Ralph Roberts, has never heard of 
Alexander Lake. I loan him copies of KILLERS IN AFRICA and 
HUNTER'S CHOICE; he calls back two nights later -- he loves them, 
and he'll start up the African reprint line as soon as I'm ready. 
     January, 1993: In an attempt to find out who owns the rights 
to Lake's books, I write to Doubleday's accounting department and 
ask who they are sending his royalty checks to. Their records only 
go back to the 1970s, and no royalties have been paid out since 
then. It takes them a mere 3 months to tell me that. 
     April, 1993: Ray Feist suggests that I write to the Doubleday 
legal department to find out what literary agent represented Lake 
during the contract negotiations. (If he did it himself, I'm out 
of luck, and the search -- and project -- ends here.) Doubleday 
takes four months to respond that Lake was represented by the 
McIntosh and Otis Agency. 
     August, 1993: I write McIntosh and Otis and ask who owns the 
rights to Lake's books. They write back to tell me that they've 
never heard of Lake. I write back and suggest they check their 
files back to the 1940s. They write back to say that they did, and 
they've still never heard of him. This correspondence takes nine 
weeks. 
     October, 1993: Once more I write to the Doubleday legal 
department and tell them that McIntosh and Otis has no record of 
representing Alexander Lake, and could they please check the 
contracts again? They do, and finally direct me to Elizabeth McKee 
of McIntosh, McKee and Dodds. I write to her and ask who owns the 
rights to Lake's books. No answer. I write again. No answer. I 
phone. She's out of town on an extended vacation. 
     January, 1994: Ms. McKee writes to tell me that yes, she did 
indeed represent Alexander Lake in the early 1950s, but she has 
had no word from him or his literary estate in more than a third 
of a century. She no longer has any records telling her who his 
literary heirs are. She has no idea where to look. 
     February, 1994: I call my own literary agent, Eleanor Wood, 
explain the problem, and ask for suggestions. She gives me the 
number of the Copyright Department of the Library of Congress. 
Maybe, she suggests, the books are public domain. If KILLERS IN 
AFRICA's copyright wasn't renewed in 1981, it's mine for the 
taking; if it _was_ renewed, at least I'll be able to find out who 
renewed it. 
     March, 1994: I call the Copyright Department. They ask what 
years the two books were originally published, then tell me to 
send them $40.00 for each title to track down the copyright 
status. I send them a check for $80.00 on my birthday, March 5. 
     June, 1994: It is now two years since WorldComm has agreed to 
publish THE RESNICK LIBRARY OF AFRICAN ADVENTURE, and Ralph 
understandably wants to know where it is. I tell him that I moved 
it from St. Martin's for the express purpose of publishing 
Alexander Lake, and I'm not giving him any other titles until I 
know beyond all doubt the Lake is unobtainable. He runs his own 
copyright check -- evidently publishers have access to the 
Copyright Department's data -- and can't find a renewal. I agree 
that if they're public domain we'll publish them, but I won't be 
satisfied until I get it in black-and-white from the Copyright 
Department. Ralph mutters and grumbles, but agrees to postpone the 
LIBRARY until 1995. 
     July and August, 1994: I call the Copyright Department 
weekly, trying to find out what happened to my request. I never 
get the same person twice, and no one there seems to know what's 
going on. 
     September, 1994: I give up trying to get a response out of 
the Copyright Department. I promise WorldComm that if I still 
haven't determined Lake's copyright status by the end of the year, 
I'll give them a different title to kick off the new line. 
     October, 1994: _Finally!_ The Copyright Department tells me 
that Lake's children, Storm Alexis Lake-Bartel and Richard K. 
Nelson, renewed the copyrights, and gives me their addresses as of 
1987: Storm is at a post office box in La Honda, Richard is in San 
Mateo. I call Ralph Roberts to tell him the news. Now comes the 
tricky part: if either of them say No, that's the end of it, and 
my dream of bringing Alexander Lake back into print is dead...so I 
have to decide which of them is more likely to say Yes. All I have 
to go on is their names. There's a son, Richard, who _should_ be 
called Lake and isn't (I don't know at the time that he's a 
stepson; for all I know, he's a blood son who hated Lake and took 
on a stepfather's last name to spite him); and there's a daughter, 
obviously married, who could reasonably be expected to have dumped 
Lake's name but chose to keep it: Lake-Bartel. Easy choice. I 
write to the daughter. And two weeks later the letter comes back, 
Address Unknown. 
     November, 1994: My very last chance is to make contact with 
the son. I write to the San Mateo address. It comes back, Address 
Unknown. I am so close and so far away, I hate to think of what 
it's doing to my blood pressure. I try to get Storm's phone number 
from the La Honda operator; no record of a Lake-Bartel. (It turns 
out that she got divorced sometime after 1987 and is once again 
going under the name of Lake.) Then I try to get Richard's phone 
number from the San Mateo operator. I don't have much hope; it's a 
common name -- there are probably ten Richard Nelsons in any fair- 
sized city. But just for once, Fate is on my side. Thank goodness 
he uses that middle initial, because while the operator doesn't 
have a Richard K. Nelson at the address the Copyright Department 
gave me, she _does_ have one in the area code. I take the number, 
call, leave a message on Richard's answering machine, he calls 
back, and five years after I start jockeying to bring KILLERS IN 
AFRICA and HUNTER'S CHOICE back into print, I finally make contact 
with the two people who can make it possible, and a week later 
we're in business. 

     Easy job being an editor, right? If I make a dime an hour for 
the time I put in, I think I'll be ahead of the game. 
     Anyway, as I write these words, KILLERS IN AFRICA is in 
print, and HUNTER'S CHOICE is a month from publication and will be 
in print long before any of you read this. Two-thirds of my Good 
Samaritan work is done: I got Lake back into print, and I got all 
of Barry Malzberg's recursive science fiction back into print in 
one big volume (PASSAGE OF THE LIGHT, written by Barry, edited by 
me and Tony Lewis, published by NESFA, and you should all run 
right out and buy it.) If I can just get Ross Spencer's hilarious 
Chance Perdue novels back into print -- and I'm working on it; it 
may even be a _fait accompli_ by the time you read this -- I'll 
feel like I've paid my dues in full. 

     Since some of you may be wondering what all the fuss is 
about, here's the introduction I wrote for HUNTER'S CHOICE, which 
will hopefully whet your appetites: 

     When we reprinted Alexander Lake's first book, KILLERS IN 
AFRICA, last spring, we promised you that if it sold at all well, 
we'd be following it up with his HUNTER'S CHOICE. The sales 
figures are in, the readers have spoken, and here it is -- another 
book by that most readable of all authors of Africana. 
     Encountering an Alexander Lake book is very much like sitting 
around an African campfire and letting an old pro spin tales of 
his youth -- but while KILLERS IN AFRICA was strictly about 
hunting, and was divided into chapters about various animals, 
HUNTER'S CHOICE is a true potpourri of tales guaranteed to tweak 
anyone's sense of wonder and adventure. 
     It even has a chapter unique to African books. Every hunter 
will happily tell you about the chase and the kill, and then 
regale you with how wonderful that kudu or impala tasted -- but 
only Alexander Lake tells you, delightfully, _how_ to cook that 
beast once you've killed it. 
     Ever wonder how to trap sixty monkeys armed with nothing but 
twenty gallons of bad booze? Trust Lake to supply the hilarious 
answer. 
     Could anyone -- even Lake's brilliant tracker, Ubusuku -- 
possibly kill the Big Five armed only with a hand axe? Lake 
describes the hunt that was initiated by a two thousand pound bet 
(the pre-World War I equivalent of a $100,000 wager) between an 
American hunter and Lake's employer, Nicobar Jones. 
     Lake even recounts a jungle murder, and the recovery of three 
of King John's emeralds. 
     And, of course, he tells these tales within the framework of 
his life: an American, with American attitudes and an American way 
of looking at things, who made his way across the African 
continent as a professional hunter. He recalls his clients, both 
good and bad, humorous and tragic, with a contagious fondness. 
     It is amazing to me that this book could have remained out of 
print for close to forty years, for it is a pure delight from the 
first page to the last. Still, while Lake was obviously a happy 
and contented man, true fame eluded him until the last decade of 
his life. 
     He was born Alexander James Lake in Chicago, Illinois, on 
July 29, 1893. His father was a Methodist minister, and the family 
moved to South Africa in 1908. Lake went to Jeppestown High School 
in Johannesburg, and then attended the Marist Brothers College, 
where he captained the rifle team that represented the Transvaal 
at the All-British Empire Shumaker Cup. His team came in second, 
but he himself set a record of 10 bull's-eyes in 11 seconds, which 
brought him to the attention of the famed trader Nicobar Jones, 
who hired him as a meat hunter, a job that took him to Portugese 
East Africa, Tanganyika, Kenya, Uganda, Northern Rhodesia, and 
German Southwest Africa. Within a couple of years he was a fully- 
fledged and licensed white hunter. 
     He took time off from his hunting career to fight for the 
American forces as a pilot in Europe during World War I, then went 
back to his beloved Africa for another twelve years, after which 
he returned to the United States, working as a reporter and editor 
for a number of newspapers in the Pacific Northwest. Then Africa 
called to him once again, and he returned there in 1937 for three 
more years. When he came back to the States in 1940, this time to 
stay, he met and married his wife, Mildred, and began writing 
anything that would sell: African reminiscences, business 
articles, even some pulp fiction. 
     Says his daughter, Storm Alexis Lake: "He loved being the 
center of attention, and he was fascinating and fun to be around. 
He loved life and lived it to its fullest, with a very wild first 
40 years. When he met and fell in love with my mother, he became 
tamed and settled down for the first time in his life. It's 
amazing what a good woman can do for a man! Once a heavy drinker, 
after meeting my mother he never touched alcohol again." 
     After World War II ended, he and Mildred bought a home on the 
Pacific Coast near the California/Oregon border, and he finally 
started cracking the major markets -- _Look, Collier's, Time, 
Reader's Digest_ -- with his accounts of Africa and hunting. His 
main markets, however, were _Field and Stream_ and _Argosy_, where 
he delighted in debunking the myths of African hunting and setting 
the record straight. 
     KILLERS IN AFRICA became a bestseller in 1953, and HUNTER'S 
CHOICE also made the bestseller lists a year later. These led Lake 
to a job as a consultant and writer for Sol Lesser, producer of 
the Tarzan films. (In fact, Lake may well be the reason that 
Gordon Scott was allowed to speak in sentences, rather than 
monosyllables. At least I'd like to think so.) 
     Finally, in his last few years, Lake began researching his 
father's missionary work in Africa. This in turn led him to 
investigate reported answers to prayer, and that led to two more 
bestsellers, YOUR PRAYERS ARE ALWAYS ANSWERED and YOU NEED NEVER 
WALK ALONE. He died on Christmas Day, 1961, while working on a 
biography of his father. 
     I discovered Alexander Lake when I was eleven years old. I 
picked up a copy of KILLERS IN AFRICA, and had read half of it in 
the bookstore before my mother realized she was either going to 
have to buy the book or leave me in the store overnight. A few 
months later I bought HUNTER'S CHOICE with money I had earned 
mowing lawns, and from that day forward I knew two things: that 
someday I would visit the wonderful continent that Lake had made 
come alive on the printed page (I have, 5 times now, with more 
trips planned), and that I would find some way to make my living 
from Africa (that took a little longer, and considering that I 
became a science fiction writer, it was a lot more difficult -- 
but I managed. I would confidently suggest that no other science 
fiction writer, dead or alive, has set 13 books and 22 works of 
short fiction in Africa or African analogs, or received as many 
major and minor awards for them. And of course, a lot of Lake's 
reminiscences have been appropriated, thinly-disguised, in my 
fiction.) 
     Before we go any further, I want to tell you a little 
something about the cover to this edition of HUNTER's CHOICE. At 
first glance it appears to be a scene from Chapter 6 ("Don't Spoil 
the Heads") of this book, but if you'll look at it _closely_, 
you'll see it's really from KILLERS IN AFRICA'S chapter on 
elephants. The giveaway is the figure of Lake himself, on the 
ground beneath the elephant. The African with the axe is, of 
course, Ubusuku. 
     So why didn't we run it on KILLERS IN AFRICA? Simple. I 
didn't know Storm Alexis Lake then. Over the past few months she 
has graciously gone through her father's old notes and magazine 
articles as we try to find enough uncollected material to create a 
brand-new Alexander Lake book. During one of our phone 
conversations, she mentioned that she and her brother owned this 
remarkable painting of her father's miraculous escape from a 
wounded elephant, rendered by an artist named Kahn. Before she was 
through describing it, I knew we had the cover for HUNTER'S 
CHOICE. 
     By the way, as the editor of this series, I do try to be 
thorough, and when it came time to publish HUNTER'S CHOICE, I 
thought I would see if I could find a negative opinion, since mine 
is one of unmitigated praise. Well, I checked every review ever 
written, and I finally found one, in the September, 1954 issue of 
_African Wild Life_, published by the South African Wild Life 
Society, of which less than 2,000 copies were printed. (How's 
_that_ for thorough?) 
     The reviewer, who uses only his initials -- D.E.N. -- takes 
Lake rather severely to task for two misstatements: that lions 
charge in "forty-foot leaps" and that the lion "is the fastest 
animal on earth." 
     Well, they once measured the stride of the great race horse, 
Swaps, and it turned out to be 33 feet 8 inches, so I have to 
assume that Lake -- who probably did not have a measuring tape 
handy when charged by lions -- was wrong. 
     As for his statement that the lion is the fastest animal on 
earth, I'm sure he was as aware of the cheetah's 65-mile-per-hour 
speed as everyone else. What you have to remember is that we 
aren't the only creatures who know lions have very little stamina; 
lions know it too. Hence, unlike the cheetah, who spots his meal a 
quarter mile away and then runs it down across open territory, the 
lion rarely charges more than sixty yards. If he hasn't caught his 
prey by then, he usually gives up. Now, there is no question that 
the cheetah is the fastest animal on earth, but it takes him a 
little time to work up to his top speed, whereas the lion is going 
full speed at his first stride. I've seen them both in action, and 
I'd be willing to bet Lake was right -- _if_ you limit it to the 
length of ground a lion charges (and since Lake was more aware of 
a lion's limitations than most men, why would he describe a longer 
race?) So much for D.E.N., whoever he or she was. 
     Okay. I've gone on long enough, and you've got a wonderful 
book to read. I think if I were to choose a single word to 
describe HUNTER'S CHOICE, it would be _evocative_. Lake's 
description of his office, or Ubusuku's hunt, or the mystic power 
of a Zulu witch doctor, or the Sunday baseball games in 
Johannesburg, or a lonely Christmas Eve in the bush... well, if 
they don't make you wish you'd been there, then somebody shorted 
your soul in the areas of Romance and Adventure. 

                         -end-