Science Fiction Quarterly was an American pulp science fiction magazine that was published from 1940 to 1943 and again from 1951 to 1958. Charles Hornig served as editor for the first two issues; Robert A. W. Lowndes edited the remainder. Science Fiction Quarterly was launched by publisher Louis Silberkleit during a boom in science fiction magazines at the end of the 1930s. Silberkleit launched two other science fiction titles ( Science Fiction and Future Fiction) at about the same time: all three ceased publication before the end of World War II, falling prey to slow sales and paper shortages. In 1950 and 1951, as the market improved, Silberkleit relaunched Future Fiction and Science Fiction Quarterly. By the time Science Fiction Quarterly ceased publication in 1958, it was the last surviving science fiction pulp magazine, all other survivors having changed to different formats.
Science Fiction Quarterly's policy was to reprint a novel in each issue as the lead story, and Silberkleit was able to obtain reprint rights to two early science fiction novels and several of Ray Cummings' books. Both Hornig and Lowndes were given minuscule budgets, and Hornig in particular had trouble finding good material to print. Lowndes did somewhat better, as he was able to call on his friends in the Futurians, a group of aspiring writers that included Isaac Asimov, James Blish, and Donald Wollheim. The second incarnation of the magazine also had a policy of running a lead novel, though in practice the lead stories were often well short of novel length. Among the better-known stories published by the magazine were "Second Dawn", by Arthur C. Clarke; "The Last Question", by Isaac Asimov; and "Common Time", by James Blish.
Although science fiction (sf) had been published before the 1920s, it did not begin to coalesce into a separately marketed genre until the appearance in 1926 of Amazing Stories , a pulp magazine published by Hugo Gernsback. By the end of the 1930s, the field was booming. [1] Louis Silberkleit, a publisher who had once worked for Gernsback, launched a pulp magazine in March 1939 titled Science Fiction, under his Blue Ribbon Magazines imprint. [2] For an editor, Gernsback recommended Charles Hornig, who had edited Wonder Stories for Gernsback from 1933 to 1936. Silberkleit took the recommendation, and Hornig was hired in October 1938. [3] [4] [5] Hornig had no office; he worked from home, coming into the office as needed to drop off manuscripts and dummy materials, and pick up typeset materials to proof. [5] He was given broad freedom to select what he wanted to publish, since Silberkleit's chief editor, Abner J. Sundell, knew little about sf and did not get involved in running the magazine. [5] [6]
To spread his costs over more magazines, Silberkleit soon decided to launch two additional titles. [7] In November 1939 the first issue of Future Fiction appeared; it was followed in July 1940 by Science Fiction Quarterly. Hornig was editor for all three of the magazines. In October 1940, Hornig, who was a pacifist, received his military call-up. He decided to move to California and register as a conscientious objector; he continued to edit the magazines from the west coast, but Silberkleit was unhappy with the arrangement. Silberkleit allowed Hornig to retain his post as editor of Science Fiction, and offered the editorship of the other two titles to Sam Moskowitz. [2] [7] [8] Moskowitz declined, saying afterwards that he "would never strike at a man's job", [9] [notes 1] but Donald Wollheim, a member of a group of aspiring writers called the Futurians, heard about the offer. Wollheim told Robert W. Lowndes, another member of the Futurians, about the opening, and urged him to write to Silberkleit. Lowndes later recalled Wollheim's idea: "In the letter, I'd suggest that it might be a good idea to add a science fiction title to the list, offering my services as editor at a slightly lower price than Hornig was being paid, and also find fault with all the other sf titles presently out, but particularly with Hornig's". [7] [10] Lowndes relates that Silberkleit took the bait and hired him in November 1940; Hornig recalls the separation as being by mutual consent because of his move to California. Lowndes subsequently agreed that this was likely to be the real reason Silberkleit replaced Hornig. [11] [12]
The first issues Lowndes was responsible for were the Spring 1941 issue of Science Fiction Quarterly and the April 1941 issue of Future Fiction. [2] [13] Initially Silberkleit kept tighter control on Lowndes' editorial selections than he had over Hornig, vetoing five of the seven stories Lowndes proposed for the April 1941 Future, but by the August 1941 issue, Lowndes later recalled, Silberkleit "was satisfied that I knew what I was doing, and [...] didn't need to oversee any story I had accepted". [14]
In 1950 Silberkleit revived Future Fiction, and the following year he brought back Science Fiction Quarterly, with the first issue of the new series dated May 1951. [15] A new magazine, Dynamic Science Fiction , followed in 1952. [16] All three were edited by Lowndes and all were in pulp format. [15] [16] Sales were satisfactory, but Silberkleit decided to experiment with the digest format, which was starting to become more popular. By the end of 1955 he had cancelled Dynamic Science Fiction, switched FutureFiction to digest format, and relaunched Science Fiction as a digest under a new title, Science Fiction Stories. Only Science Fiction Quarterly was left in pulp format—Silberkleit felt that a quarterly digest would not be as successful as a quarterly pulp. [17] The pulps were dying off, and when Other Worlds switched to digest format in 1956, Science Fiction Quarterly became the only remaining sf magazine still being published as a pulp. [18] In 1957 American News Company, one of the biggest magazine distributors, was liquidated, and the resulting changes in the national magazine distribution network, along with poor sales, finally killed Science Fiction Quarterly. [19] [20] [21] The last issue was dated February 1958. [22]
Silberkleit's magazines were given very limited budgets. Hornig worked with Julius Schwartz, a literary agent who was a friend of his; this gave him access to stories by the writers Schwartz represented, but Schwartz would not allow his authors' real names to be used unless they were paid at least one cent per word. Hornig could not afford to pay the one cent rate for everything he bought, so he paid half a cent a word for much of what he acquired through Schwartz, and ran those stories under pseudonyms. Unsurprisingly, given the low rates, the stories sent to Hornig had usually already been rejected by the better-paying markets. The result was mediocre fiction, even from the better known writers that Hornig was able to attract. [8] [23] The magazines paid on publication, rather than acceptance, and this slower payment also discouraged some authors from submitting material. [24]
Science Fiction Quarterly was intended by Silberkleit to include a full-length novel in each issue. [25] Silberkleit obtained permission from Hugo Gernsback to reprint two novels from Science Wonder Quarterly: The Moon Conquerors by R.H. Romans, and The Shot Into Infinity by Otto Willi Gail. Although these stories were somewhat dated, they were better quality than the fiction Hornig was able to obtain for his other magazines. [26] When Lowndes took over, the policy of including a novel in every issue continued, and Silberkleit again obtained reprint rights to fill some of these slots, this time with Ray Cummings, five of whose novels would appear in Science Fiction Quarterly over the next two years, starting with Tarrano the Conqueror in the Summer 1941 issue. [25] Lowndes bought many stories from the Futurians to fill the remaining space in the magazine. These were of variable quality, but overall Science Fiction Quarterly improved once Lowndes took control, and the fiction was as good as or better than the stories to be found in many of the contemporary magazines. [25]
When the magazine was revived, the stated policy was still to publish lead novels and fill the remaining space with short stories, but in fact, with few exceptions, the lead fiction was not of novel length. There were no more reprints, as there had been for the first series. Lowndes was unable to pay his writers rates that were competitive with the magazines that were leading the field, but he was an able editor and produced a magazine of reasonable quality every quarter. The Futurians still occasionally appeared in Science Fiction Quarterly, but Lowndes also attracted some of the newer writers, such as Poul Anderson, William Tenn, and Arthur C. Clarke. Clarke's "Second Dawn", which appeared in the August 1951 issue, is among the better stories Lowndes was able to obtain; he also published Isaac Asimov's "The Last Question" in the November 1956 issue, and James Blish's "Common Time", in August 1953. [25] Lowndes was also able to acquire some good quality nonfiction for the magazine, including a series of articles by James Blish on science in sf, and articles on science fiction by Thomas D. Clareson and L. Sprague de Camp. [27] Blish, writing as William Atheling, Jr., commented in 1953 that Lowndes was doing a "surprisingly good job" with all of Silberkleit's science fiction magazines, despite the low rates and the slow payment to authors. [28]
Winter | Spring | Summer | Fall | Winter | ||||||||
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1940 | 1 | |||||||||||
1941 | 2 | 3 | 4 | 5 | ||||||||
1942 | 6 | 7 | 8 | 9 | ||||||||
1943 | 10 | |||||||||||
Issues of Science Fiction Quarterly from 1940 to 1943, showing issue numbers, and indicating editors: Hornig (blue, first two issues), and Lowndes (yellow, remaining eight issues). Note that issue 5 was dated "Winter 1941/42". |
Charles Hornig was the editor of the first two issues of the first incarnation of Science Fiction Quarterly; Robert W. Lowndes edited all the subsequent issues. The magazine was printed in pulp format throughout both series. The price was 25 cents throughout the first run, for 144 pages; the second series began at 25 cents, but the price increased to 35 cents for the August 1957 issue. The page count for the second series was 128 pages for much of the run, but from the November 1953 issue to the May 1957 issue it was 96 pages. The publisher for the first issue was Double Action Magazines, with offices in Holyoke, Massachusetts; thereafter the publisher was Columbia Publications for both versions of the magazine. [22] Both Double Action and Columbia were owned by Louis Silberkleit. [2] [22]
Jan | Feb | Mar | Apr | May | Jun | Jul | Aug | Sep | Oct | Nov | Dec | |
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1951 | 1/1 | 1/2 | 1/3 | |||||||||
1952 | 1/4 | 1/5 | 1/6 | 2/1 | ||||||||
1953 | 2/2 | 2/3 | 2/4 | 2/5 | ||||||||
1954 | 2/6 | 3/1 | 3/2 | 3/3 | ||||||||
1955 | 3/4 | 3/5 | 3/6 | 4/1 | ||||||||
1956 | 4/2 | 4/3 | 4/4 | 4/5 | ||||||||
1957 | 4/6 | 5/1 | 5/2 | 5/3 | ||||||||
1958 | 5/4 | |||||||||||
Issues of Science Fiction Quarterly from 1951 to 1958, showing volume and issue numbers. Lowndes was editor throughout this run. |
There were three British reprints of the first series, all published by Gerald Swan. The Summer 1940 issue was reprinted twice. It appeared first (with cuts) as Yankee Science Fiction, issue 3, in February 1942, and then again, uncut, as a paperback, titled The Moon Conquerors, in 1943. The Winter 1941/42 issue was also reprinted in 1943, titled Into the Fourth Dimension and Other Stories. [22]
Ten issues of the second series were reprinted in the U.K. by Thorpe & Porter. The issues, which were cut from the U.S. editions, appeared between February 1952 and August 1955, and corresponded to 10 of the first 13 issues, from May 1951 to May 1954. The omitted issues were November 1951, May 1952, and August 1953. The order of publication was not the same as for the US editions: the sequence was May 51/August 51/February 52/November 52/August 52/May 53/February 54/November 53/February 53/May 54. The first issue was 132 pages; the count was reduced to 130 pages for the second issue, then to 100 pages for two issues, and to 98 pages thereafter. The price was 2/- (10p) for the first two issues, and 1/- (5p) for the remaining eight issues. [22] [29] [notes 2]
There are no anthologies of stories drawn solely from Science Fiction Quarterly. However, in the 1960s Ivan Howard edited several anthologies for Silberkleit's publishing imprint, Belmont Books, with contents drawn solely from Silberkleit's magazines. One of these, Rare Science Fiction (1963), included three stories from Science Fiction Quarterly. [22] [30] [31]
Donald Allen Wollheim was an American science fiction editor, publisher, writer, and fan. As an author, he published under his own name as well as under pseudonyms, including David Grinnell, Martin Pearson, and Darrell G. Raynor.
Planet Stories was an American pulp science fiction magazine, published by Fiction House between 1939 and 1955. It featured interplanetary adventures, both in space and on some other planets, and was initially focused on a young readership. Malcolm Reiss was editor or editor-in-chief for all of its 71 issues. Planet Stories was launched at the same time as Planet Comics, the success of which probably helped to fund the early issues of Planet Stories. Planet Stories did not pay well enough to regularly attract the leading science fiction writers of the day, but occasionally obtained work from well-known authors, including Isaac Asimov and Clifford D. Simak. In 1952 Planet Stories published Philip K. Dick's first sale, and printed four more of his stories over the next three years.
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.
Robert Augustine Ward "Doc" Lowndes was an American science fiction author, editor and fan. He was known best as the editor of Future Science Fiction, Science Fiction, and Science Fiction Quarterly, among many other crime-fiction, western, sports-fiction, and other pulp and digest sized magazines for Columbia Publications. Among the most famous writers he was first to publish at Columbia was mystery writer Edward D. Hoch, who in turn would contribute to Lowndes's fiction magazines as long as he was editing them. Lowndes was a principal member of the Futurians. His first story, "The Outpost at Altark" for Super Science in 1940, was written in collaboration with fellow Futurian Donald A. Wollheim, uncredited.
Super Science Stories was an American pulp science fiction magazine published by Popular Publications from 1940 to 1943, and again from 1949 to 1951. Popular launched it under their Fictioneers imprint, which they used for magazines, paying writers less than one cent per word. Frederik Pohl was hired in late 1939, at 19 years old, to edit the magazine; he also edited Astonishing Stories, a companion science fiction publication. Pohl left in mid-1941 and Super Science Stories was given to Alden H. Norton to edit; a few months later Norton rehired Pohl as an assistant. Popular gave Pohl a very low budget, so most manuscripts submitted to Super Science Stories had already been rejected by the higher-paying magazines. This made it difficult to acquire good fiction, but Pohl was able to acquire stories for the early issues from the Futurians, a group of young science fiction fans and aspiring writers.
Uncanny Tales was a Canadian science fiction pulp magazine edited by Melvin R. Colby that ran from November 1940 to September 1943. It was created in response to the wartime reduction of imports on British and American science-fiction pulp magazines. Initially it contained stories only from Canadian authors, with much of its contents supplied by Thomas P. Kelley, but within a few issues Colby began to obtain reprint rights to American stories from Donald A. Wollheim and Sam Moskowitz. Paper shortages eventually forced the magazine to shut down, and it is now extremely rare.
Science-Fiction Plus was an American science fiction magazine published by Hugo Gernsback for seven issues in 1953. In 1926, Gernsback had launched Amazing Stories, the first science fiction magazine, but he had not been involved in the genre since 1936, when he sold Wonder Stories. Science-Fiction Plus was initially in slick format, meaning that it was large-size and printed on glossy paper. Gernsback had always believed in the educational power of science fiction, and he continued to advocate his views in the new magazine's editorials. The managing editor, Sam Moskowitz, had been a reader of the early pulp magazines, and published many writers who had been popular before World War II, such as Raymond Z. Gallun, Eando Binder, and Harry Bates. Combined with Gernsback's earnest editorials, the use of these early writers gave the magazine an anachronistic feel.
Fantastic Story Quarterlywas a pulp science fiction magazine, published from 1950 to 1955 by Best Books, a subsidiary imprint of Standard Magazines, based in Kokomo, Indiana. The name was changed with the Summer 1951 issue to Fantastic Story Magazine. It was launched to reprint stories from the early years of the science fiction pulp magazines, and was initially intended to carry no new fiction, though in the end every issue contained at least one new story. It was sufficiently successful for Standard to launch Wonder Story Annual as a vehicle for more science fiction reprints, but the success did not last. In 1955 it was merged with Standard's Startling Stories. Original fiction in Fantastic Story included Gordon R. Dickson's first sale, "Trespass", and stories by Walter M. Miller and Richard Matheson.
Avon published three related magazines in the late 1940s and early 1950s, titled Avon Fantasy Reader, Avon Science Fiction Reader, and Avon Science Fiction and Fantasy Reader. These were digest size magazines which reprinted science fiction and fantasy literature by now well-known authors. They were edited by Donald A. Wollheim and published by Avon.
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.
Future Science Fiction and Science Fiction Stories were two American science fiction magazines that were published under various names between 1939 and 1943 and again from 1950 to 1960. Both publications were edited by Charles Hornig for the first few issues; Robert W. Lowndes took over in late 1941 and remained editor until the end. The initial launch of the magazines came as part of a boom in science fiction pulp magazine publishing at the end of the 1930s. In 1941 the two magazines were combined into one, titled Future Fiction combined with Science Fiction, but in 1943 wartime paper shortages ended the magazine's run, as Louis Silberkleit, the publisher, decided to focus his resources on his mystery and western magazine titles. In 1950, with the market improving again, Silberkleit relaunched Future Fiction, still in the pulp format. In the mid-1950s he also relaunched Science Fiction, this time under the title Science Fiction Stories. Silberkleit kept both magazines on very slim budgets throughout the 1950s. In 1960 both titles ceased publication when their distributor suddenly dropped all of Silberkleit's titles.
Cosmic Stories and Stirring Science Stories were two American pulp science fiction magazines that published a total of seven issues in 1941 and 1942. Both Cosmic and Stirring were edited by Donald A. Wollheim and launched by the same publisher, appearing in alternate months. Wollheim had no budget at all for fiction, so he solicited stories from his friends among the Futurians, a group of young science fiction fans including James Blish and C. M. Kornbluth. Isaac Asimov contributed a story, but later insisted on payment after hearing that F. Orlin Tremaine, the editor of the competing science fiction magazine Comet, was irate at the idea of a magazine that might "siphon readership from magazines that paid", and thought that authors who contributed should be blacklisted. Kornbluth was the most prolific contributor, under several pseudonyms; one of his stories, "Thirteen O'Clock", published under the pseudonym "Cecil Corwin", was very successful, and helped to make his reputation in the field. The magazines ceased publication in late 1941, but Wollheim was able to find a publisher for one further issue of Stirring Science Stories in March 1942 before war restrictions forced it to close again.
Comet was a pulp magazine which published five issues from December 1940 to July 1941. It was edited by F. Orlin Tremaine, who had edited Astounding Stories, one of the leaders of the science fiction magazine field, for several years in the mid-1930s. Tremaine paid one cent per word, which was higher than some of the competing magazines, but the publisher, H-K Publications based in Springfield, MA, was unable to sustain the magazine while it gained circulation, and it was cancelled after less than a year when Tremaine resigned. Comet published fiction by several well-known and popular writers, including E.E. Smith and Robert Moore Williams. The young Isaac Asimov, visiting Tremaine in Comet's offices, was alarmed when Tremaine asserted that anyone who gave stories to competing magazines for no pay should be blacklisted; Asimov promptly insisted that Donald Wollheim, to whom he had given a free story, should make him a token payment so he could say he had been paid.
Dynamic Science Fiction was an American pulp magazine which published six issues from December 1952 to January 1954. It was a companion to Future Science Fiction, and like that magazine was edited by Robert W. Lowndes and published by Columbia Publications. Stories that appeared in its pages include "The Duplicated Man" by Lowndes and James Blish, and "The Possessed" by Arthur C. Clarke. It was launched at the end of the pulp era, and when publisher Louis Silberkleit converted Future to a digest format in 1954, he decided not to do the same with Dynamic, simply cancelling the magazine.
Out of This World Adventures was an American pulp magazine which published two issues, in July and December 1950. It included several pages of comics as well as science fiction stories. It was edited by Donald A. Wollheim and published by Avon. Sales were weak, and after two issues Avon decided to cancel it.
10 Story Fantasy was a science fiction and fantasy pulp magazine which was launched in 1951. The market for pulp magazines was already declining by that time, and the magazine only lasted a single issue. The stories were of generally good quality, and included work by many well-known writers, such as John Wyndham, A.E. van Vogt and Fritz Leiber. The most famous story it published was Arthur C. Clarke's "Sentinel from Eternity", which later became part of the basis of the movie 2001: A Space Odyssey.
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.
Amazing Stories Quarterly was a U.S. science fiction pulp magazine that was published between 1928 and 1934. It was launched by Hugo Gernsback as a companion to his Amazing Stories, the first science fiction magazine, which had begun publishing in April 1926. Amazing Stories had been successful enough for Gernsback to try a single issue of an Amazing Stories Annual in 1927, which had sold well, and he decided to follow it up with a quarterly magazine. The first issue of Amazing Stories Quarterly was dated Winter 1928 and carried a reprint of the 1899 version of H.G. Wells' When the Sleeper Wakes. Gernsback's policy of running a novel in each issue was popular with his readership, though the choice of Wells' novel was less so. Over the next five issues, only one more reprint appeared: Gernsback's own novel Ralph 124C 41+, in the Winter 1929 issue. Gernsback went bankrupt in early 1929, and lost control of both Amazing Stories and Amazing Stories Quarterly; associate editor T. O'Conor Sloane then took over as editor. The magazine began to run into financial difficulties in 1932, and the schedule became irregular; the last issue was dated Fall 1934.
Columbia Publications was an American publisher of pulp magazines featuring the genres of science fiction, westerns, detective stories, romance, and sports fiction. The company published such writers as Isaac Asimov, Louis L'Amour, Arthur C. Clarke, Randall Garrett, Edward D. Hoch, and William Tenn; Robert A. W. Lowndes was an important early editor for such writers as Carol Emshwiller, Edward D. Hoch and Kate Wilhelm.