John Stewart Williamson, who wrote as Jack Williamson, was an American science fiction writer, one of several called the "Dean of Science Fiction". He is also credited with one of the first uses of the term genetic engineering. Early in his career he sometimes used the pseudonyms Will Stewart and Nils O. Sonderlund.
The planet Venus has been used as a setting in fiction since before the 19th century. Its opaque cloud cover gave science fiction writers free rein to speculate on conditions at its surface—a "cosmic Rorschach test", in the words of science fiction author Stephen L. Gillett. The planet was often depicted as warmer than Earth but still habitable by humans. Depictions of Venus as a lush, verdant paradise, an oceanic planet, or fetid swampland, often inhabited by dinosaur-like beasts or other monsters, became common in early pulp science fiction, particularly between the 1930s and 1950s. Some other stories portrayed it as a desert, or invented more exotic settings. The absence of a common vision resulted in Venus not developing a coherent fictional mythology, in contrast to the image of Mars in fiction.
Charles Leonard Harness was an American science fiction writer.
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.
The Legion of Space is a space opera science fiction series by American writer Jack Williamson. The story takes place in an era when humans have colonized the Solar System but dare not go farther, as the first extra-solar expedition to Barnard's Star failed and the survivors came back as babbling, grotesque, diseased madmen. They spoke of a gigantic planet, populated by ferocious animals and the single city left of the evil "Medusae". The Medusae bear a vague resemblance to jellyfish, but are actually elephant-sized, four-eyed, flying beings with hundreds of tentacles. The Medusae cannot speak, and communicate with one another via a microwave code.
Supernovae, extremely powerful explosions of stars, have been featured in works of fiction since at least the early 1900s. The idea that the Sun could explode in this manner has served as the basis for many stories about disaster striking Earth, though it is now recognized that this cannot actually happen. Recurring themes in these stories include anticipating the inevitable destruction while being helpless and evacuating the planet, sometimes with the assistance of helpful aliens. The destruction of Earth in this manner occasionally serves as backstory explaining why humanity has started colonizing the cosmos. Another recurring scenario is radiation from more distant supernovae threatening Earth. Besides humans, alien civilizations are also occasionally subject to the dangers of supernovae. Supernovae are induced intentionally in several works, typically for use as weapons but sometimes for more peaceful purposes, and naturally occurring supernovae are likewise exploited in some stories.
Triplanetary is a science fiction novel and space opera by American writer E. E. Smith. It was first serialized in the magazine Amazing Stories in 1934. After the original four novels of the Lensman series were published, Smith expanded and reworked Triplanetary into the first of two prequels for the series. The fix-up novel Triplanetary was published in book form in 1948 by Fantasy Press. The second prequel, First Lensman, was a new original novel published in 1950 by Fantasy Press.
The Cometeers is a collection of two science fiction novels by the American writer Jack Williamson. It was first published by Fantasy Press in 1950 in an edition of 3,162 copies. The novels were originally serialized in the magazine Astounding in 1936 and 1939, and later released as individual paperbacks by Pyramid Books.
The Legion of Time is a novella by the American writer Jack Williamson. It was originally serialized in Astounding Science-Fiction from May to July 1938, and was subsequently reissued by Fantasy Press (along with another novella, in a 1952 edition of 4,604 copies. Despite the title Legion of Time, the stories do not in fact feature an organization with such a name. The title story was originally announced as "The Legion of Probability".
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.
The Paradox Men is a science fiction novel by American writer Charles L. Harness, his first novel. Initially published as a novella, "Flight into Yesterday", in the May 1949 issue of Startling Stories, it was republished as The Paradox Men in 1953. The "science-fiction classic" is both "a tale dominated by space-opera extravagances" and "a severely articulate narrative analysis of the implications of Arnold J. Toynbee's A Study of History." Boucher and McComas described it as "fine swashbuckling adventure ... so infinitely intricate that you may never quite understand what it's about." P. Schuyler Miller described it as "action-entertainment, fast-paced enough that you don't stop to bother with inconsistencies or improbabilities."
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.
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.
The year 1954 was marked, in science fiction, by the following events.
