Front Cover Lovett illo

Title Page

From the Archive editors:

Suzan Lovett's novel, The Goliath, was published as an independent zine in 1986, illustrated by the author. It was written for general audiences, and has an "R" rated hetero sex scene. The novel and its art is reproduced here with the author's permission. We've made every attempt to reproduce the text and art as it was represented in the zine. Hypertext links will allow you to view the art, if you have the software to do so.

Please do not print or reproduce this story or its art, except for your own convenience. Do not post either the novel or its art to lists or reprint it in zines. Please respect the author's wishes so that the fans of Starsky & Hutch might continue to enjoy this piece of classic fiction.

This story was written for entertainment purposes only, and is not meant to infringe on any rights held by any holders of rights to Starsky & Hutch.

The Goliath zine can sometimes be found in used zine sales at local cons.  However, it is officially out of print. 

Comments about this story can be sent to, and will be forwarded to the author.


Many people contributed to getting The Goliath on the Web, where all Starsky & Hutch fans could enjoy it.

First and foremost was its author and artist, Suzan Lovett. We would like to thank Suzan for her generosity in making this terrific story so easily available.

We would also like to thank Paula Smith, The Goliath's original editor, who graciously gave her permission to allow us to use her name and foreword, so that the zine could be presented as it was originally.

Special thanks must also go to: Sebastyin, for starting the archive, supporting it, and doing all the countless, thankless tasks that are required to keep it running. Cindy R., for the initial, laborious scanning. Terri Oberkamper and Flamingo's Favorite Fanny for incredibly meticulous and picky proofreading. Killashandra, for cleaning up the art scans and making them look as good as they did in the zine. NancyT23, Robin, Solo, and Flamingo for working on complicated archive issues until practical solutions could be found. Ask them what the word consensus means! KayCee for lending (and allowing it to be battered) her copy of The Goliath, and for all her encouragement and friendship -- not to mention infecting certain archive editors with the S&H bug in the first place! To Cj and KrazyRabbit for their generous offers of help and their encouragement in this project. To all the many S&H fans who gave us so much encouragement so we could all share this classic story with the whole wide world of the Web.


From the original zine:


To Ali Suavi and Fikret Yegenoglu, my father and mother

for teaching me to love the written word.


Editor: Paula Smith

Cover and interior art, graphics: Suzan Lovett

Copyright 1986, Lovett.

This publication is not intended to infringe upon the copyrights held by Spelling-Goldberg Productions, Twentieth Century Fox Studios, or any other holders of "Starsky and Hutch" copyrights. No reproductions or reprints without written permission.



I'll grant the foreword its right to the title since it precedes the manuscript. However, for all other purposes, it is a misnomer. The way it works out, the foreword gets written last, usually neglected until the final harried moment, during which the writer feels she'd much rather write a whole new novel than tackle the pesky half-page or so. Anticipating this occasion, I asked Paula, my editor, for a foreword and she, again, hasn't let me down. For worthy reading, and words appropriate to the novel, please jump to her portion.

To all the readers who took time out and went to the trouble of sending LoCs for "The Thousandth Man," more thanks than I can express. I haven't been able to answer each letter individually, and I apologize. However, you were the motivating force behind "The Goliath." In that sense, this story is the tangible proof of my appreciation. (Ahem...don't stop now, huh?)

Paula, thank you for your continuing support and help, given willingly and so capably. Your friendship is the best return I got from "The Thousandth Man."

Edi, many thanks for your time and impeccable work. I regret that some of your invaluable suggestions had to be sacrificed to time and necessity, but you have taught me a lot for future ventures.

Rita, without your generous nature (which, I'm sure, you've had cause to regret quite a few times) this zine couldn't have been finalized. I'm very thankful and appreciative.

Kathy, your title of story consultant is alive and well. Like Starsky, you have the uncanny ability to cut through the bull and point out to me 'the heart of the matter.' Thanks.

Jeannie and Marcia, thank you, as ever, for much needed hand-holding and companionship.

Suzan Lovett


In our society it's traditionally feminine to depend on a man, to need one for his comfort, help, strength and love, and to be at a loss without one. Conversely, a man is someone who can stand alone, who asks for no help, but can always be counted on to give it--the strong, silent type. Think of Marilyn Monroe and John Wayne in the movies.

However, life ain't like that. Conventional stories, constrained only by the popular assumptions of society, can feature thoroughly masculine men and utterly feminine women, lumps of muscle battling pythons and Japs in the jungle, or balls of fluff swooning on featherbeds and formal gardens. They don't have to reflect reality, the heart, the conflicts of the soul, which is just as well, because fundamentally they are false. Courage doesn't come with a penis, nor does fidelity wear breasts. People are not as narrow or one-dimensional as the overly easy definitions would like to insist. That's why great stories are about human beings, human beings with a fair sampling of all human traits, not just those anatomically or politically correct.

That's also why, with regard to the story you're about to read, I'm tickled to point out that the characters who can't get along without the love and presence of a man are Starsky and Hutch themselves, and the character who stands alone, independent and self-sufficient, is Linda Baylor. Nor is it just a switcheroo, a sort of literary crossdressing. All three combine strength with caring, in proportions that define their individual characters.

Alice Sheldon, who shocked the easily shockable about ten years ago by revealing herself to be James Tiptree, Jr., thought that the surprise--hell, flabbergastment--that met her announcement could have been avoided had people a mental category for General Human Being. This is a wise notion for all of us to cultivate. After all, virtue is not in such long supply in this naughty world that we can afford to be picky about its sources on the basis of sex. Or any other basis, for that matter. Should we despise the love S&H teach us because of their gender? I think not.

Paula Smith, 21 May 86

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