I got up at 9:00 am and drove down to Fritz’s, only to discover when I got there that he didn’t have the handriwtten oginals for the last half. He seemed exasperated but restrained. I drove over to Oakland, and Charlie helped me locate the folders with the handwritten chapters. Then Fritz and I went over them for about two hours, locating mistakes. He was kind of relieved to find I had left out a paragraph. “I’ve been wrong about everything else,” he said. I was glad to hear him talk about rewriting the end — tying up loose ends, etc. Fafhrd’s Gray Mouser really should die, but I would settle for just a good, finished book.
The memorabilia in his place is fascinating. When he stopped to think, I would look around. There was an oil portrait nearby of a pretty woman with high cheekbones, cocked eyebrows plucked into a line, and a small, lipsticked mouth, who watched us from the corner of her eyes. Near her was a photo of an older version of this woman with her hand on a boy’s shoulder. Mrs. Leiber and Justin? Fritz’s father, the first Fritz Leiber, was very present as the bust of a lean, handsome young man, an oil painting self-portrait of FL Senior dressed as a Roman centurion, and a ticket stub for a long-past Shakespeare performance at Tulane.
Fritz Leiber Sr. was a film star and a renowned Shakespearean actor. The resemblance between father and son was so striking I at first thought the picture and the bust were of Fritz Jr.
Fritz Jr. himself did some acting, and can be spotted, uncredited, in a small role as Valentin in Garbo’s Camille. He told me that, in a shot where he stood behind a table next to Robert Taylor, they put him in a sort of hole to prevent him from towering over the leading man. I’m pretty sure Fritz was well over six feet tall.
Fritz’ Jr.’s apartment was in what we call the Tenderloin, a sketchy part of downtown, then and now a place where poor and working class people exist alongside prostitutes and the homeless. Herron’s Literary World of San Francisco includes a photo of Fritz in that apartment, sitting in front of his window, smiling and playing a recorder. This was, I believe, the same apartment (and window) described in Our Lady of Darkness, Fritz’s horror novel about San Francisco, and one of his best.