Schmitz died of congestive lung failure in 1981 after a five-week stay in hospital in Los Angeles. He was survived by his wife, Betty Mae Chapman Schmitz.
Writing
Schmitz is best known as a writer of "space opera", and for strong female characters (such as Telzey Amberdon and Trigger Argee) who didn't conform to the damsel in distress stereotype typical of science fiction during the time he was writing.[2]
His first published story was "Greenface", published in August 1943 in Unknown.
Most of his works are part of the "Hub" series, though his best known novel (Gardner Dozois, long-time editor of Asimov's Science Fiction magazine, said it "is usually thought of as Schmitz's best work"[2]) is The Witches of Karres, concerning juvenile "witches" with genuine psi-powers and their escape from slavery. Karres was nominated for a Hugo Award. During recent years, his novels and short stories have been republished by Baen Books, edited and with notes by Eric Flint.
In an introductory essay comparing Schmitz with contemporary author A. E. van Vogt, Dozois wrote, "Although he lacked van Vogt's paranoid tension and ornately Byzantine plots, the late James H. Schmitz was considerably better at people than van Vogt was, crafting even his villains as complicated, psychologically complex, and non-stereotypical characters, full of surprising quirks and behaviors that you didn't see in a lot of other Space Adventure stuff."[2]
Dozois added,
And his universes, although they come with their own share of monsters and sinister menaces, seem as if they would be more pleasant places to live than most Space Opera universes, places where you could have a viable, ordinary, and decent life once the plot was through requiring you to battle for existence against some Dread Implacable Monster; Schmitz even has sympathy for the monsters, who are often seen in the end not to be monsters at all, but rather creatures with agendas and priorities and points-of-view of their own, from which perspectives their actions are justified and sometimes admirable—a tolerant attitude almost unique amidst the Space Adventure tales of the day, most of which werre frothingly xenophobic.[2]
Legacy
In an essay in the anthology The Good Old Stuff (1998), prefacing the Schmitz tale "The Second Night of Summer", in which humans on the planet Noorhut face an attack from aliens and are, unbeknownst to themselves, saved by the actions of a single woman with psi powers, Granny Wannattel, with the sole help of a friendly alien she calls her pony, Dozois wrote,
Schmitz was decades ahead of the curve in his portrayal of female characters—years before the Women's Movement of the '70s would come along to raise the consciousness of SF writers (or attempt to), Schmitz was not only frequently using women as the heroines in swashbuckling tales of interplanetary adventure—itself almost unheard of at the time—but he was also treating them as the total equal of the male characters, every bit as competent and brave and smart (and ruthless, when needs be), without saddling them with any of the "female weaknesses"—like an inclination to faint or cower under extreme duress, and/or seek protection behind the muscular frame of the Tough Male Hero) that would mar the characterization of women by some writers for years to come. (The Schmitz Woman, for instance, is every bit as tough and competent as the Heinlein Woman—who, to be fair, isn't prone to fainting in a crisis either—but without her annoying tendancy to think that nothing in the universe is as important as marrying Her Man and settling down to have as many babies as possible.)[2]
With his popular equality-between-the-sexes fiction, Schmitz eased the way for later writers such as Joanna Russ, James Tiptree, Jr., Kit Reed, Connie Willis, Sheri S. Tepper, and other science fiction authors who used female protagonists and feminine point-of-view more than half the time. Of "The Second Night of Summer", Dozois went on to write, "the hero of the piece is not only a woman, but an old woman ... a choice that most adventure writers wouldn't even make now, in 1998, let alone in 1950, which is when Schmitz made it!"[2]
Short works
Listed chronologically, with month and year of publication, as well as the magazine, listed in parentheses.
Includes: Agent of Vega; The Illusionists; The Second Night of Summer; The Truth About Cushgar; The Custodians; Gone Fishing; The Beacon to Elsewhere; The End of the Line; Watch the Sky; Greenface; Rogue Psi.
Paperback, November 2001, Baen Books
The Best of James H. Schmitz
Includes: Grandpa; Lion Loose...; Just Curious; The Second Night of Summer; Novice; Balanced Ecology; The Custodians; Sour Note on Palayata; Goblin Night.
Includes: The Big Terrarium; Summer Guests; Captives of the Thieve-Star; Caretaker; One Step Ahead; Left Hand, Right Hand; The Ties of Earth; Spacemaster; The Altruist; Oneness; We Don't Want Any Trouble; Just Curious; Would You?; These Are the Arts; Clean Slate; Crime Buff; Ham Sandwich; Where the Time Went; An Incident on Route 12; Swift Completion; Faddist; The Eternal Frontiers.
Paperback, September 2002, Baen Books
The Hub: Dangerous Territory
Includes: The Searcher; Grandpa; Balanced Ecology; A Nice Day for Screaming; The Winds of Time; The Machmen; The Other Likeness; Attitudes; Trouble Tide; The Demon Breed.
Paperback, 2001, Baen Books
The Lion Game
Includes: Goblin Night; Sleep No More; The Lion Game.
