Author | E. F. Bleiler, with the assistance of Richard Bleiler |
---|---|
Genre | Reference work |
Publisher | Kent State University Press |
Publication date | 1998 |
Pages | xxx + 730 |
ISBN | 978-0-87338-604-3 |
Preceded by | Science-Fiction: The Early Years (1990) |
Science-Fiction: The Gernsback Years is a 1998 reference work covering the history of English-language science fiction magazines from 1926 to 1936, comprising 1,835 individual stories by more than 500 different authors across a total of 345 issues from 14 magazines. It was written by E. F. Bleiler with the assistance of his son Richard Bleiler, a follow-up to their previous Science-Fiction: The Early Years (1990).
The book received positive reviews, with critics commending its comprehensiveness and level of detail. Reviewers found it to live up to the standards set by its predecessor. Several critics described it as indispensable; science fiction scholars James E. Gunn and Gary Westfahl both commented that their own previous research would have been greatly aided by the book, had it been available to them.
Science-Fiction: The Gernsback Years was conceived of as a follow-up to E. F. Bleiler's previous bibliographical reference works, The Guide to Supernatural Fiction (1983) and Science-Fiction: The Early Years (1990). [1] The title refers to science fiction editor Hugo Gernsback, who created the first science fiction magazine— Amazing Stories —in 1926, coined the term "scientifiction", and for whom the science fiction literature Hugo Award is named. [1] [2] [3] E. F. Bleiler researched and summarized the primary literature, while his son Richard Bleiler tracked down biographical and bibliographical details. [3]
The book begins with a preface and introduction by Bleiler providing background information. This includes an outline of the approach taken and an overview of the magazines, [1] [4] as well as two tables tracking the use of various motifs and story formulas across the time period. [5] Bleiler writes that satire had by this time largely fallen out of favour, and that politically contentious topics such as Prohibition and lynching in the United States and international conflicts such as the Chinese Civil War and Italian invasion of Ethiopia were mostly avoided by science fiction authors. In Bleiler's view, conservatism and traditional gender roles characterized the science fiction of the time, and much of it reflected xenophobic and colonialist attitudes.
The main portion of the book consists of a complete catalogue of all stories published in English-language science fiction magazines between 1926 (when Gernsback founded Amazing) and 1936 (the year Gernsback sold Wonder Stories ). [3] [4] The magazines in question include the major publications Amazing, Wonder, and Astounding Stories , as well as their spinoffs such as Amazing Stories Annual and Amazing Stories Quarterly , and minor publications like Flash Gordon Strange Adventure Magazine and Miracle Science and Fantasy Stories . [3] A total of 345 issues [6] from 14 different magazines are covered, of which all but the British publication Scoops are from the United States. [7] The stories are arranged alphabetically by author and then chronologically for each author. [3] [5] Each story receives a summary of its plot spanning a few hundred words, [8] about 200 on average, [5] and additionally a single-sentence critical evaluation by Bleiler. [1] The total number of stories thus covered is 1,835 [4] [9] across 522 pages. [1] Each author also gets a brief biographical description, where such information is known. [5] The total number of authors represented exceeds 500. [7]
The remainder of the book consists of multiple appendices and indices, [3] as well as a bibliography of secondary literature. [4] One of the appendices, entitled "Magazine Histories and Contents", spans 57 pages and covers various information about the magazines including an overview of each magazine's history, the complete contents of each individual issue (both the fiction itself and nonfiction content such as editorials, reviews, and letters), pricing, pagination, and the people involved—publishers, editors, authors, and artists alike. [1] [4] [5] [6] The other appendices include a list of anthologies in which the stories have been reprinted, [1] [6] a list of science fiction poetry, [4] a list of stories that were originally published outside of the magazines but reprinted in them, [6] and a section on magazine artists including black-and-white reproductions of a selection of 13 covers. [1] [5] [6] There are three indices: one for motifs and themes, containing entries like "High civilizations of the past, non-human" and "Mad scientist, motivations, purposes"; [8] one for titles; and one for authors. [1] [4]
James E. Gunn reviewed the book for Utopian Studies in 1999, writing of it and its two predecessors that "Bleiler's work is so sound and so thorough that every college library ought to have copies, and enterprising scholars may well wish to have the series as close to hand as The Encyclopedia of Science Fiction ". He particularly appreciated the "Magazine Histories and Contents" appendix, writing that "Data such as this is invaluable to the scholar and researcher, and I wish I had had the books when I was working on Alternate Worlds and The Road to Science Fiction ". Gunn nevertheless identified several negatives. He found the font and three-column layout of the magazine section unnecessarily difficult to read. He also stated that he would have preferred Bleiler to have elaborated on the reasons for his more critical assessments. Gunn further identified some factual errors and criticized a habit of speculating without presenting evidence. Finally, Gunn found the selection of secondary literature in the bibliography lacking, writing that "Bleiler's focus on the literature itself is salutory, but his acquaintance with secondary materials seems hit-and-miss". [1]
Thomas Easton, in a review originally published in the June 1999 issue of Analog Science Fiction and Fact (later republished in Easton's 2006 collection Off the Main Sequence), called the book "an invaluable reference". Besides the main contents of the book, Easton found the description of the science fiction magazine readership in the book's introduction particularly interesting—noting that while Bleiler describes the general readership in a fairly unflattering manner, he also lists a large number of people among the most devoted fans who would go on to be significant personages within the fields of science and literature (according to Easton, "the proportion is such as to leave a Harvard in the dust"). [10]
David Pringle, reviewing the book for Science Fiction Studies in July 2000, compared it favourably to its predecessor Science-Fiction: The Early Years —commenting that while it is somewhat shorter in length, it is in turn entirely comprehensive within its scope, and concluding that it is an equally indispensable resource for science fiction scholars. In Pringle's view, Bleiler's reading of the primary material "in a sense, has relieved the rest of us from the necessity of ever having to do likewise", writing that the low availability of many of the magazines and the lack of reprinting of the majority of the stories (in anthologies or otherwise) means that "it is for the detailed second-hand knowledge of these that it provides that Bleiler's book will be particularly valuable". Pringle also commended the detailed knowledge on display, writing that the small number of errors he noted did not detract from the overall impression. [3]
Gary Westfahl, in a 2000 review for Extrapolation , described it as "an indispensable, even wondrous reference book: meticulously researched, thorough in its coverage, usefully organized, and fascinating to read in its entirety". On the usefulness of the volume for scholars, Westfahl described the contents as "information that I would have died for ten or twenty years ago and information that will vastly improve any future research into this era of science fiction history", while at the same time cautioning against using the tome as a substitute for reading the primary literature itself when conducting research. [4]
Michael Schoenecke, reviewing the book for the Journal of American and Comparative Cultures in 2000, praised the work's comprehensiveness within its scope. Schoenecke described the book as "a rich harvest, fascinating and informative". [11]
In the 2002 edition of Reference Guide to Science Fiction, Fantasy and Horror by Michael Burgess and Lisa R. Bartle, the book is described as "both authoritative and well-written", with its level of detail receiving specific praise. The ease of navigation is also highlighted as a positive. [5]
Robert Silverberg described the book in Asimov's Science Fiction in May 2003 as "a monumental work of a grandeur and magnificence verging on lunacy [...] a meticulous work of scholarship with an almost medieval intensity about it, the equivalent of what teams of monks might have spent decades producing in the thirteenth century". Silverberg praised in particular the devotion to reading all the included stories and providing critical commentary, expressing amusement at Bleiler's at times blunt dismissals of literary merit. He nevertheless found himself inspired by the book to revisit some of the more obscure works discussed and suggested readers look into two anthologies of works from this era to get an appreciation for the level of quality some of them reached: Isaac Asimov's Before the Golden Age (1974) and Damon Knight's Science Fiction of the Thirties (1976). [8]
Neil Barron, in the 2004 edition of his Anatomy of Wonder: A Critical Guide to Science Fiction, called the book "[a]n essential companion to the author's equally authoritative Science-Fiction: The Early Years". [7] Gary K. Wolfe, writing in the same volume, similarly described it as "one of the major indispensable works of SF scholarship". [6]
John Clute, writing in The Encyclopedia of Science Fiction, commented that Bleiler's suite of reference works culminating in The Gernsback Years "stands as a central resource for the study of sf books" alongside the works of authors such as Barron and Donald H. Tuck (author of The Encyclopedia of Science Fiction and Fantasy ). Clute also wrote that all three works are characterized both by extraordinary scope and extraordinary thoroughness. [12]
Hugo Gernsback was a Luxembourgish-American editor and magazine publisher whose publications included the first science fiction magazine, Amazing Stories. His contributions to the genre as publisher were so significant that, along with the novelists Jules Verne and H. G. Wells, he is sometimes called "The Father of Science Fiction". In his honor, annual awards presented at the World Science Fiction Convention are named the "Hugos".
Ralph 124C 41 +, by Hugo Gernsback, is an early science fiction novel, written as a twelve-part serial in Modern Electrics magazine, which Gernsback edited, beginning in April 1911. It was compiled into novel/book form in 1925. While it pioneered many ideas found in later science fiction, it has been critically panned for its "inept writing." The title contains a gramogram, meaning "One to foresee for one another." In the introduction to the first volume of Science-Fiction Plus, dated March 1953, Gernsback called for patent reform to give science fiction authors the right to create patents for ideas without having patent models because many of their ideas predated the technical progress needed to develop specifications for their ideas. The introduction referenced the numerous prescient technologies described throughout Ralph 124C 41+.
Wonder Stories was an early American science fiction magazine which was published under several titles from 1929 to 1955. It was founded by Hugo Gernsback in 1929 after he had lost control of his first science fiction magazine, Amazing Stories, when his media company Experimenter Publishing went bankrupt. Within a few months of the bankruptcy, Gernsback launched three new magazines: Air Wonder Stories, Science Wonder Stories, and Science Wonder Quarterly.
David Henry Keller was an American writer who worked for pulp magazines in the mid-twentieth century, in the science fiction, fantasy, and horror genres. He was also a psychiatrist and physician to shell-shocked soldiers during World War I and World War II, and his experience treating mentally ill people is evident in some of his writing, which contains references to mental disorders. He initially wrote short stories as a hobby and published his first science fiction story in Amazing Stories in 1928. He continued to work as a psychiatrist while publishing over sixty short stories in science fiction and horror genres. Technically, his stories were not well-written, but focused on the emotional aspects of imaginative situations, which was unusual for stories at the time.
Jupiter, the largest planet in the Solar System, has appeared in works of fiction across several centuries. The way the planet has been depicted has evolved as more has become known about its composition; it was initially portrayed as being entirely solid, later as having a high-pressure atmosphere with a solid surface underneath, and finally as being entirely gaseous. It was a popular setting during the pulp era of science fiction. Life on the planet has variously been depicted as identical to humans, larger versions of humans, and non-human. Non-human life on Jupiter has been portrayed as primitive in some works and more advanced than humans in others.
Pluto has appeared in fiction as a setting since shortly after its 1930 discovery, albeit infrequently. It was initially comparatively popular as it was newly discovered and thought to be the outermost object of the Solar System and made more fictional appearances than either Uranus or Neptune, though still far fewer than other planets. Alien life, sometimes intelligent life and occasionally an entire ecosphere, is a common motif in fictional depictions of Pluto. Human settlement appears only sporadically, but it is often either the starting or finishing point for a tour of the Solar System. It has variously been depicted as an originally extrasolar planet, the remnants of a destroyed planet, or entirely artificial. Its moon Charon has also appeared in a handful of works.
Asteroids have appeared in fiction since at least the late 1800s, the first one—Ceres—having been discovered in 1801. They were initially only used infrequently as writers preferred the planets as settings. The once-popular Phaëton hypothesis, which states that the asteroid belt consists of the remnants of the former fifth planet that existed in an orbit between Mars and Jupiter before somehow being destroyed, has been a recurring theme with various explanations for the planet's destruction proposed. This hypothetical former planet is in science fiction often called "Bodia" in reference to Johann Elert Bode, for whom the since-discredited Titius–Bode law that predicts the planet's existence is named.
Neptune has appeared in fiction since shortly after its 1846 discovery, albeit infrequently. It initially made appearances indirectly—e.g. through its inhabitants—rather than as a setting. The earliest stories set on Neptune itself portrayed it as a rocky planet rather than as having its actual gaseous composition; later works rectified this error. Extraterrestrial life on Neptune is uncommon in fiction, though the exceptions have ranged from humanoids to gaseous lifeforms. Neptune's largest moon Triton has also appeared in fiction, especially in the late 20th century onwards.
Uranus has been used as a setting in works of fiction since shortly after its 1781 discovery, albeit infrequently. The earliest depictions portrayed it as having a solid surface, whereas later stories portrayed it more accurately as a gaseous planet. Its moons have also appeared in a handful of works. Both the planet and its moons have experienced a slight trend of increased representation in fiction over time.
Fictional planets of the Solar System have been depicted since the 1700s—often but not always corresponding to hypothetical planets that have at one point or another been seriously proposed by real-world astronomers, though commonly persisting in fiction long after the underlying scientific theories have been refuted. Vulcan was a planet hypothesized to exist inside the orbit of Mercury between 1859 and 1915 to explain anomalies in Mercury's orbit until Einstein's theory of general relativity resolved the matter; it continued to appear in fiction as late as the 1960s. Counter-Earth—a planet diametrically opposite Earth in its orbit around the Sun—was originally proposed by the ancient Greek philosopher Philolaus in the fifth century BCE, and has appeared in fiction since at least the late 1800s. It is sometimes depicted as very similar to Earth and other times very different, often used as a vehicle for satire, and frequently inhabited by counterparts of the people of Earth.
Planets outside of the Solar System have appeared in fiction since at least the 1850s, long before the first real ones were discovered in the 1990s. Most of these fictional planets do not differ significantly from the Earth, and serve only as settings for the narrative. The majority host native lifeforms, sometimes with humans integrated into the ecosystems. Fictional planets that are not Earth-like vary in many different ways. They may have significantly stronger or weaker gravity on their surfaces, or have a particularly hot or cold climate. Both desert planets and ocean planets appear, as do planets with unusual chemical conditions. Various peculiar planetary shapes have been depicted, including flattened, cubic, and toroidal. Some fictional planets exist in multiple-star systems where the orbital mechanics can lead to exotic day–night or seasonal cycles, while others do not orbit any star at all. More fancifully, planets are occasionally portrayed as having sentience, though this is less common than stars receiving the same treatment or a planet's lifeforms having a collective consciousness.
Science fiction studies is the common name for the academic discipline that studies and researches the history, culture, and works of science fiction and, more broadly, speculative fiction.
Comets have appeared in works of fiction since at least the 1830s. They primarily appear in science fiction as literal objects, but also make occasional symbolical appearances in other genres. In keeping with their traditional cultural associations as omens, they often threaten destruction to Earth. This commonly comes in the form of looming impact events, and occasionally through more novel means such as affecting Earth's atmosphere in different ways. In other stories, humans seek out and visit comets for purposes of research or resource extraction. Comets are inhabited by various forms of life ranging from microbes to vampires in different depictions, and are themselves living beings in some stories.
Gary Wesley Westfahl is an American writer and scholar of science fiction. He has written reviews for the Los Angeles Times, The Internet Review of Science Fiction and Locus Online. He worked at the University of California, Riverside until 2011 and is now a Professor Emeritus at the University of La Verne.
Amazing Stories Annual was a pulp magazine which published a single issue in July 1927. It was edited by Hugo Gernsback, and featured the first publication of The Master Mind of Mars, by Edgar Rice Burroughs, which had been rejected by several other magazines, perhaps because the plot included a satire on religious fundamentalism. The other stories in Amazing Stories Annual were reprints, including two stories by A. Merritt, and one by H.G. Wells. The magazine sold out, and its success led Gernsback to launch Amazing Stories Quarterly the following year.
Scientific Detective Monthly was a pulp magazine that published fifteen issues beginning in January 1930. It was launched by Hugo Gernsback as part of his second venture into science-fiction magazine publishing, and was intended to focus on detective and mystery stories with a scientific element. Many of the stories involved contemporary science without any imaginative elements—for example, a story in the first issue turned on the use of a bolometer to detect a black girl blushing—but there were also one or two science fiction stories in every issue.
Science-fiction and fantasy magazines began to be published in the United States in the 1920s. Stories with science-fiction themes had been appearing for decades in pulp magazines such as Argosy, but there were no magazines that specialized in a single genre until 1915, when Street & Smith, one of the major pulp publishers, brought out Detective Story Magazine. The first magazine to focus solely on fantasy and horror was Weird Tales, which was launched in 1923, and established itself as the leading weird fiction magazine over the next two decades; writers such as H.P. Lovecraft, Clark Ashton Smith and Robert E. Howard became regular contributors. In 1926 Weird Tales was joined by Amazing Stories, published by Hugo Gernsback; Amazing printed only science fiction, and no fantasy. Gernsback included a letter column in Amazing Stories, and this led to the creation of organized science-fiction fandom, as fans contacted each other using the addresses published with the letters. Gernsback wanted the fiction he printed to be scientifically accurate, and educational, as well as entertaining, but found it difficult to obtain stories that met his goals; he printed "The Moon Pool" by Abraham Merritt in 1927, despite it being completely unscientific. Gernsback lost control of Amazing Stories in 1929, but quickly started several new magazines. Wonder Stories, one of Gernsback's titles, was edited by David Lasser, who worked to improve the quality of the fiction he received. Another early competitor was Astounding Stories of Super-Science, which appeared in 1930, edited by Harry Bates, but Bates printed only the most basic adventure stories with minimal scientific content, and little of the material from his era is now remembered.
Science-Fiction: The Early Years is an American reference book on early science fiction of all countries up until 1930, published by Kent State University Press. The book catalogues over 3000 science fiction works, many of which are very rare and have never been described before. The included works are novels, novelettes, short stories and occasional plays. Several indexes are included: motif and theme index, date index, magazine index, title index and author index. The book received the Locus Award for Best Non-Fiction in 1992.
The Sun has appeared as a setting in fiction at least since classical antiquity, but for a long time it received relatively sporadic attention. Many of the early depictions viewed it as an essentially Earth-like and thus potentially habitable body—a once-common belief about celestial objects in general known as the plurality of worlds—and depicted various kinds of solar inhabitants. As more became known about the Sun through advances in astronomy, in particular its temperature, solar inhabitants fell out of favour save for the occasional more exotic alien lifeforms. Instead, many stories focused on the eventual death of the Sun and the havoc it would wreak upon life on Earth. Before it was understood that the Sun is powered by nuclear fusion, the prevailing assumption among writers was that combustion was the source of its heat and light, and it was expected to run out of fuel relatively soon. Even after the true source of the Sun's energy was determined in the 1920s, the dimming or extinction of the Sun remained a recurring theme in disaster stories, with occasional attempts at averting disaster by reigniting the Sun. Another common way for the Sun to cause destruction is by exploding, and other mechanisms such as solar flares also appear on occasion.
Impact events have been a recurring theme in fiction since the 1800s.