Science Fantasy (magazine)

Science Fantasy, which also appeared under the titles Impulse and SF Impulse, was a British fantasy and science fiction magazine, launched in 1950 by Nova Publications as a companion to Nova's New Worlds. Walter Gillings was editor for the first two issues, and was then replaced by John Carnell, the editor of New Worlds, as a cost-saving measure. Carnell edited both magazines until Nova went out of business in early 1964. The titles were acquired by Roberts & Vinter, who hired Kyril Bonfiglioli to edit Science Fantasy; Bonfiglioli changed the title to Impulse in early 1966, but the new title led to confusion with the distributors and sales fell, though the magazine remained profitable. The title was changed again to SF Impulse for the last few issues. Science Fantasy ceased publication the following year, when Roberts & Vinter came under financial pressure after their printer went bankrupt.

Gillings had an inventory of material that he had acquired while editing Fantasy, and he drew on this for Science Fantasy, as well as incorporating his own fanzine, Science Fantasy Review, into the new magazine. Once Carnell took over, Science Fantasy typically ran a long lead novelette along with several shorter stories; prominent contributors in the 1950s included John Brunner, Ken Bulmer, and Brian Aldiss, whose first novel Nonstop appeared (in an early version) in the February 1956 issue. Fantasy stories began to appear more frequently during the latter half of the 1950s, and in the early 1960s Carnell began to publish Thomas Burnett Swann's well-received historical fantasies. Carnell felt that the literary quality of Science Fantasy was always higher than that of New Worlds, and in the early 1960s his efforts were rewarded with three consecutive Hugo nominations for best magazine. Under Bonfiglioli more new writers appeared, including Keith Roberts, Brian Stableford and Josephine Saxton. In the opinion of science fiction historian Mike Ashley, the final year of Impulse, as it was titled by that time, included some of the best material ever published in a British science fiction magazine.

Publication history

Gillings and Carnell

Spring Summer Autumn Winter
Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec
1950 1/1 1/2
1951 1/3
1952 2/4 2/5
1953 2/6
1954 7 (nd) 8 9 10 11
1955 12 13 14 15 16
1956 17 18 19 20
1957 21 22 23 24 25 26
1958 27 28 29 30 31 32
1959 33 34 35 36 37 38
Issues of Science Fantasy in the 1950s, showing volume/issue number, and
color-coded to show who was editor for each issue. Walter Gillings was the
editor for the first two issues; John Carnell took over for the remainder of the
1950s. Underlining indicates that the magazine was titled with the season (e.g.
"Summer 1950") for that issue. Issue 7 was only dated with the year, 1954.[1][2]

In early 1946, British fan John Carnell launched a new science fiction magazine titled New Worlds, published by Pendulum Publications. The first issue appeared in July 1946 and failed to sell well. The second issue, in October of that year, sold better, but Pendulum went out of business before the end of 1947 with only one more issue released. A group of sf fans, including Carnell and Frank Cooper, decided to restart the magazine under their own control, and formed Nova Publications Ltd. The fourth issue appeared in April 1949.[3]

At the same time that the first issue of New Worlds appeared, a separate British magazine called Fantasy was launched by Walter Gillings, a science fiction fan and a reporter by profession. Fantasy lasted for only three issues before dying in 1947, but Gillings had accumulated a substantial inventory of stories—enough to fill nine issues.[4] Gillings followed the demise of Fantasy by publishing a fanzine, titled Fantasy Review, beginning in March 1947.[1]

In 1950, with New Worlds on a stable quarterly schedule, Nova Publications decided to launch a companion, Science Fantasy.[3] They chose Gillings as the editor, and his fanzine, which had been retitled Science Fantasy Review in 1949, was incorporated in the new magazine as a department. The first issue was dated Summer 1950, but printing disputes meant that the second issue was delayed until winter. Paper rationing delayed the third issue to Winter 1951, but before it appeared, Nova decided that it could no longer afford to have separate editors for New Worlds and Science Fantasy, and Gillings was let go.[1] According to Carnell, there were also "fundamental differences of opinion" that led to the decision to replace him.[5][notes 1]

After the Spring 1953 issue Nova Publications decided to switch printers, in order to cut costs and bring the cover price down from 2/- (10 p) to 1/6 (7.5 p). The new printers, The Carlton Press, failed to keep to the agreed printing schedule, and produced poor quality work; there were also printers' strikes, and this disruption caused extended delays in the appearance of the seventh issue.[1][5] While the dispute with the printers was going on, Carnell and Maurice Goldsmith, a journalist acquaintance of Carnell's, put together a small conference of well-known science fiction authors, including Arthur C. Clarke and John Wyndham. Goldsmith covered the conference for Illustrated, a weekly magazine, and the article caught the attention of Maclaren & Sons Ltd, a technical trade publisher interested in launching a new sf magazine. Carnell turned down the offer because of his loyalty to Nova Publications, but subsequent discussions ultimately led to Maclaren taking control of Nova Publications, with a commitment to produce New Worlds on a monthly basis and Science Fantasy on a bimonthly schedule. Maclaren's legal department was helpful in resolving the dispute with The Carlton Press, and the seventh issue of Science Fantasy finally appeared with a cover date of March 1954.[7]

In 1958, Nova decided to launch a British reprint of the American magazine Science Fiction Adventures, under the same title. The British Science Fiction Adventures lasted until May 1963, when it was felled by declining sales.[1] New Worlds, Nova's flagship title, and Science Fantasy were also suffering from poor sales, with circulation estimated at about 5,000,[8] though a switch from bimonthly to a monthly schedule was also considered that year for Science Fantasy.[1][notes 2] In September Nova decided to close down both remaining titles,[1] and in preparation for the change Carnell signed a contract in December 1963 to edit an original anthology series, New Writings in SF, for publisher Dennis Dobson.[8] Readers' responses to news of the planned demise of the magazines included a letter from Michael Moorcock, published in the April 1964 New Worlds, asking how the British market would now be able to train writers to sell to the higher-paying U.S. magazines.[1]

Roberts & Vinter

Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec
1960 39 40 41 42 43 44
1961 45 46 47 48 49 50
1962 51 52 53 54 55 56
1963 57 58 59 60 61 62
1964 63 64 65 66 67 68
1965 69 70 71 72 73 74 75 76 77 78 79
1966 80 81 1/1 1/2 1/3 1/4 1/5 1/6 1/7 1/8 1/9 1/10
1967 1/11 1/12
Issues of Science Fantasy in the 1960s, showing volume/issue number, and
color-coded to show who was editor for each issue. John Carnell was the
editor until April 1964, after which Kyril Bonfiglioli took over. The last five issues
were edited by Keith Roberts and Harry Harrison. Issues 65 through 69 were
titled with the name of two consecutive months—e.g. issue 66 was dated
July–August 1964.[1][2]

In early 1964, David Warburton of Roberts & Vinter, an established publisher, heard from the printer of Science Fantasy and New Worlds that the magazines were going to fold shortly. Warburton decided that having a respectable magazine would help him in getting good distribution for Roberts & Vinter's books: Science Fantasy and New Worlds both had distribution arrangements with the two main British newsagents of the time, John Menzies and W.H. Smith.[8][notes 3] Carnell did not want to continue to edit the magazines in addition to New Writings in SF, and recommended Moorcock to Warburton; Kyril Bonfiglioli, an Oxford art dealer who was a friend of Brian Aldiss, also expressed an interest. Warburton gave Moorcock the choice of which magazine to edit; Moorcock chose New Worlds, and Bonfiglioli became the new editor of Science Fantasy.[8] Roberts & Vinter changed the format from digest to paperback, and the first issue under Bonfiglioli's control was number 65, dated June–July 1964. The schedule was initially somewhat irregular, with each issue dated with two months even when two issues were only a month apart—for example, June–July 1964 was followed by July–August 1964.[1] From March 1965 a regular monthly schedule was begun.[9]

Bonfiglioli often bought material from writers without an established reputation; he did not make any special effort to acquire stories from well-known names. He was known for writing long and helpful rejection letters to newcomers, but he also had a reputation for laziness, and much of the day-to-day editorial work was done by assistants—first James Parkhill-Rathbone, and then Keith Roberts.[10]

Bonfiglioli disliked the title of the magazine, feeling that it "promised the worst of both worlds"; he proposed Caliban as the new title, but the publisher dissuaded him. He settled on Impulse instead, and the magazine appeared under the new title starting with the March 1966 issue.[1][11] The paperback format was unchanged, but the volume numeration was restarted at volume 1 number 1, to "sever all connections with Science Fantasy", in the words of sf historian Mike Ashley. The name change proved to be disastrous; there was already a magazine called Impulse, and this caused distribution problems. In addition, treating Impulse as a new magazine meant a fresh distribution contract was needed. Bonfiglioli attempted to repair the damage by changing the name to SF Impulse starting in August 1966, but the result was a dramatic drop in circulation.[11]

By late 1966 Bonfiglioli had made enough money from his antiques dealing to be able to retire to Jersey. J.G. Ballard was briefly involved with the magazine in an editorial role, but his aims for the magazine were too far from the publisher's goals and he was quickly replaced by Harry Harrison. Harrison almost immediately had to leave England and handed over much of the day-to-day management of the magazine to Keith Roberts.[11][12] Despite the setback from Bonfiglioli's title change, the magazine was still profitable, but in July 1966 Roberts & Vinter's distributor, Thorpe & Porter, went bankrupt while owing Roberts & Vinter a substantial sum. The resulting financial pressure led Roberts & Vinter to decide to focus on their more profitable magazines, and the February 1967 issue of SF Impulse was the last, though New Worlds, the sister magazine, survived via an Arts Council grant obtained by Brian Aldiss's efforts.[11][12] The title was merged with New Worlds with effect from the March 1967 issue, though nothing of SF Impulse's content was retained.[12]

Contents and reception

1950s

Science Fantasy Winter 1951 cover
R.M. Bull's cover for the third issue is "strikingly reminiscent of the work of Margaret Brundage for Weird Tales in the thirties", according to sf historian David Kyle.[13]

In the first issue, Gillings declared that he was interested in science fantasy "in all its forms: with its significant ideas, its surprising prophecies, its sheer fictions, its evolution as a fascinating literature".[14] Stories in the first issue, drawn from Gillings' inventory of material acquired for Fantasy, included "The Belt", by J.M. Walsh; "Time's Arrow", by Arthur C. Clarke; and "Monster", by John Christopher, writing as Christopher Youd.[1] Gillings also included several non-fiction features, such as his fanzine, Science Fantasy Review, incorporated into Science Fantasy as a department, and condensed to a few pages. In the first issue Gillings reviewed an article about science fiction by Jacob Bronowski which had appeared in the Continental Daily Mail.[15] There were also three book review columns: two by Gillings, writing under pseudonyms, and one by John Aiken, the son of poet Conrad Aiken.[1]

When Carnell took over, he planned to distinguish Science Fantasy from its sister magazine, New Worlds, by adding more fantasy, while printing nothing but sf in New Worlds,[5] though it took some time for the two magazines to develop separate personalities.[1] Carnell also dropped the non-fiction features, though he did start a series of guest editorials, starting with Gillings in the third issue and H.J. Campbell in the fourth issue.[5][15] The acquisition of Nova Publications by Maclaren gave Carnell access to the publishing facilities of a well-established company, and to established distribution channels, which freed him to focus on his editorial duties.[7] Carnell tended to put longer stories in Science Fantasy than in New Worlds, and Science Fantasy typically ran a long lead novelette with several short stories.[1][16] Stories that would not have suited New Worlds began to appear, such as William F. Temple's "Eternity" (February 1955), in which aliens mysteriously provide haloes to thousands of people, and Dal Stiven's "Free Will", which featured robot ghosts. Stories in the whimsical fantasy tradition that had been started by Unknown, however, did not often appear in Science Fantasy.[1][16]

Many of the lead novelettes in the 1950s were provided by John Brunner and Ken Bulmer. Brunner's first appearance was in September 1955 with "The Talisman"; over the next few years he wrote both science fiction and fantasy for Science Fantasy, including "A Time to Read" (December 1956), an alternate-world fantasy, and "Lungfish" (December 1957), a generation starship story. Bulmer's first appearance in Science Fantasy was in June 1955, with "Psi No More"; he contributed regularly thereafter. A short version of Brian Aldiss's first novel, Nonstop, appeared in the February 1956 issue, and Aldiss subsequently contributed some experimental stories.[1] From 1956 onwards the magazine contained substantially more fantasy than sf.[17]

In Carnell's opinion, the literary quality of Science Fantasy was "far higher" than that of New Worlds, but New Worlds was always the better-selling of the two magazines.[7] Carnell's determination to keep the quality high led him to delay publishing issue 20 for two months because of a "lack of suitable material".[18] His efforts were rewarded by frequent appearances of stories from Science Fantasy in the annual Year's Greatest SF anthology series edited by Judith Merril. Carnell occasionally used reprints, often selecting stories in line with the magazine's focus on offbeat fantasy, such as Fritz Leiber's "Space-Time for Springers", and Theodore Sturgeon's "The Graveyard Reader". Towards the end of the 1950s Carnell began to reintroduce non-fiction, and starting in 1959 he printed a series of articles by Sam Moskowitz on key figures in the early history of science fiction, such as Edgar Allan Poe; these articles, which had first appeared in American magazines such as Satellite Science Fiction, were later collected as Explorers of the Infinite.[1] The artwork was of variable quality, in the opinion of critic Brian Stableford; among the better covers Stableford cites the work of Brian Lewis, who supplied almost all Science Fantasy's cover art from 1958 through 1961.[16] Historian David Kyle commented on the "remarkable" cover by R.M. Bull for the third issue, which he regarded as "strikingly reminiscent of the work of Margaret Brundage for Weird Tales in the thirties."[13]

1960s

In the early 1960s, Thomas Burnett Swann became strongly associated with Science Fantasy.[1] He had published a couple of genre short stories before beginning to sell to Carnell with "The Dryad-Tree" in the August 1960 issue.[15][19] Swann's speciality was historical fantasy, and Where Is the Bird of Fire?, his retelling of the Romulus and Remus myth, which was serialised in Science Fantasy in 1962, "received more praise than any other [novelette] in recent years", according to Carnell.[20] Swann was one of the three mainstays of Science Fantasy in the early 1960s: the others were Michael Moorcock and J.G. Ballard.[1] Ballard's first story in Science Fantasy was "Prima Belladona", which appeared in the December 1956 issue; his work over the next few years was ideally suited to Science Fantasy and he became a regular contributor.[1] He published some conventional stories in the British magazines, but over the next few years Ballard's more traditional science fiction material appeared mostly in the American market, with Science Fantasy and New Worlds reserved for more experimental material that was a harbinger of New Wave science fiction.[8] Moorcock's Elric of Melniboné series, about a sword and sorcery anti-hero, began with "The Dreaming City" in the June 1961 Science Fantasy, and Moorcock appeared frequently thereafter: he had either a story or an essay (and sometimes both) in all but four of the remaining issues edited by Carnell.[1][15] Terry Pratchett's first story, "The Hades Business", appeared in the August 1963 issue.[21] Ashley regards the early 1960s as one of the high points of the magazine;[17] it was nominated for the Hugo Award for each of the last three years in which Carnell edited it, from 1962 to 1964, but it never won.[22]

When Kyril Bonfiglioli took over in 1964, he complained in his first editorial that he had "just read through a quarter of a million words of ms [manuscript] and half of it was so bad it made me blush".[23] He asked Brian Aldiss to help; the only unsold stories Aldiss had were from his early days, "written before I got the hang of things", but Bonfiglioli told Aldiss, "They can't possibly be worse than the rubbish that's being submitted".[notes 4] Aldiss provided four stories for the first two issues, under his own name and two pseudonyms, "Jael Cracken" and "John Runciman". Bonfiglioli's third issue included Keith Roberts' first two stories: "Escapism", a time travel tale, and "Anita", the first in a series about a witch; Roberts became a frequent contributor both under his own name and as "Alistair Bevan", and also provided the artwork for several covers.[1][notes 5] The Day of the Minotaur, another historical fantasy by Thomas Burnett Swann, began serialisation in the same issue under the title The Blue Monkeys. Swann's novel The Weirwoods was also serialised in the magazine, with no change of title. Other new writers that began to appear under Bonfiglioli's editorship included Josephine Saxton and Brian Stableford.[1] Bonfiglioli's focus on stories that he liked personally, rather than on a specific editorial policy, led author Christopher Priest to describe Science Fantasy under Bonfiglioli's editorship as "a literate and charmingly eccentric magazine, with an atmosphere all its own".[24]

At the World Science Fiction Convention in 1965, held in London, Bonfiglioli persuaded several well-known writers to appear in an "all-star issue ... with specially written stories round the theme of 'sacrifice'". The issue in question was the first one under the new title of Impulse, in March 1966; it included fiction by James Blish, Brian Aldiss, Harry Harrison, J.G. Ballard, Poul Anderson, Jack Vance, and Keith Roberts, who contributed "The Signaller", the first story in his Pavane sequence. The second issue was also high quality, with another Pavane story and a short story by John Brunner from his "Traveller in Black" series. Subsequent issues did not sustain this high level, but overall, in Ashley's opinion, the twelve issues of Impulse contained "some of the best SF and fantasy ever published in British magazines".[11] Christopher Priest's first story, "The Run", appeared in the May 1966 issue, and Chris Boyce's second story, "George", was published in June 1966. Two novels were serialised in Impulse, both well-received: Harry Harrison's Make Room! Make Room! (later made into the movie Soylent Green), and Moorcock's The Ice Schooner. Other notable stories listed by Ashley include Thomas Disch's "The Roaches" and "The Number You Have Just Reached", and Aldiss's "The Eyes of the Blind King".[11] Stableford also praises the covers for the last few issues, which were mostly done by Keith Roberts in a semi-abstract style unlike conventional genre art.[16]

Bibliographic details

The editorial succession at Science Fantasy was as follows:[1][11]

The publisher was Nova Publications until April 1964, and Roberts & Vinter Ltd thereafter.[1][11]

Science Fantasy was digest-sized for its first two issues. The size increased to a large digest for the next four issues, but with issue seven it returned to a small digest again, and remained in that format until the June–July 1964 issue, which was issued in paperback format. The remaining issues, including all those under the Impulse title, were published as paperbacks. It initially was priced at 2/-; the price was cut to 1/6 for the third issue, but returned to 2/- with the seventh issue. With issue 11 (December 1954) the price returned to 2/-, and it rose to 2/6 with issue 46 and to 3/- with issue 61. When the format changed to paperback with issue 65 the price dropped again to 2/6, and remained there until the title change to Impulse. All the twelve Impulse issues were priced at 3/6. The page count began at 96, and rose to 128 with issue 7. Issues 36 through 63 were 112 pages, and the final digest-sized issue was 124 pages. The paperback issues were 128 pages under the Science Fantasy title, and 160 pages for the Impulse issues. Volume numbering began with two volumes of three issues, but the second volume began with volume 2, number 4 instead of restarting the issue number at 1 as would usually be done. From issue 7 the volume number was dropped completely.[1][11]

The schedule was initially quite irregular, with the first two issues, in Summer and Winter 1950, followed almost a year later by a Winter 1951–52 issue. Spring and Autumn 1952 were followed by Spring 1953 and then another long delay to the seventh issue which was dated 1954, without a month or season given. The schedule became more regular thereafter, with May 1954 inaugurating a bimonthly schedule that lasted till November 1955, except that September 1954 was followed by a December issue, and June 1955 was followed by September. After February, May and August 1955, the December 1956 issue began a regular bimonthly sequence that was marred only by the appearance of a November 1959 issue between the August and December issues. After the switch to paperback, the sequence ran as follows: June–July 1964, July–August 1964, September–October 1964, December 1964 – January 1965, January–February 1965, and then monthly from March 1965 to the end.[1][11]

There have been no anthologies drawn solely from the pages of Science Fantasy, but Weird Shadows From Beyond, edited by John Carnell, and published by Corgi Books in 1965, drew eight of its ten stories from the magazine.[1]

In 2013, a 371-page volume written by John Boston and curated by Damien Broderick, titled Strange Highways: Reading Science Fantasy, 1950–1967 was published by Borgo/Wildside in the US. It discusses, sometimes in detail, every issue, story, writer, cover, and even advertisement of the magazine.[25]

References

Footnotes

  1. ^ Gillings felt betrayed by the decision, and in combination with a family bereavement this led to him disappearing from the British science fiction world for twenty years.[6]
  2. ^ A plan to switch to a monthly schedule was announced in the editorial of the August 1963 issue; this was surprising in view of the low circulation as normally a monthly schedule would be undertaken only by a successful magazine.[1]
  3. ^ Warburton's partner, Godfrey Gold, published pin-up magazines, and was also interested in the magazines for the same reason.[8]
  4. ^ Quoted by Mike Ashley from private correspondence with Aldiss.[1]
  5. ^ In fact Carnell had been the first editor to buy from Roberts, but the stories he acquired for New Writings in SF did not appear until after Roberts appeared in Science Fantasy.[10]

Citations

  1. ^ a b c d e f g h i j k l m n o p q r s t u v w x y z aa ab ac ad ae Mike Ashley, "Science Fantasy (1950–1966)", in Tymn & Ashley, Science Fiction, Fantasy and Weird Fiction Magazines, pp. 505–510.
  2. ^ a b "Science-Fantasy", in Tuck, Encyclopedia of Science Fiction and Fantasy Vol. 3, pp. 586–587.
  3. ^ a b Mike Ashley, "New Worlds", in Tymn & Ashley, Science Fiction, Fantasy and Weird Fiction Magazines, pp. 423–437.
  4. ^ Mike Ashley, "Fantasy (1946–1947)", in Tymn & Ashley, Science Fiction, Fantasy and Weird Fiction Magazines, pp. 256–257.
  5. ^ a b c d Harbottle & Holland, Vultures of the Void, pp. 78–79.
  6. ^ Ashley, "Transformations", pp. 75–76.
  7. ^ a b c Harbottle & Holland, Vultures of the Void, pp. 100–103.
  8. ^ a b c d e f Ashley, Transformations, pp. 231–237.
  9. ^ Ashley, Transformations, pp. 337–338.
  10. ^ a b Ashley, Transformations, pp. 243–246.
  11. ^ a b c d e f g h i j Mike Ashley, "Impulse", in Tymn & Ashley, Science Fiction, Fantasy and Weird Fiction Magazines, pp. 350–352.
  12. ^ a b c Ashley, Transformations, pp. 245–248.
  13. ^ a b Kyle, Pictorial History of Science Fiction, p. 119.
  14. ^ "Fantasies and Facts". Science Fantasy. I (1): 3. Summer 1950.
  15. ^ a b c d See the individual issues. For convenience, an online index is available at "Magazine:Science Fantasy — ISFDB". www.isfdb.org. Al von Ruff. Retrieved 26 February 2011.
  16. ^ a b c d Brian Stableford, "Science Fantasy", in Clute & Nicholls, Encyclopedia of Science Fiction, p. 1061.
  17. ^ a b Mike Ashley, "Science Fantasy", in Clute & Grant, Encyclopedia of Fantasy, p. 844.
  18. ^ "Editorial-In-Brief". New Worlds Science Fiction. 18 (53): 20. November 1956.
  19. ^ John Clute, "Thomas Burnett Swann", in Clute & Grant, Encyclopedia of Fantasy, pp. 912–913.
  20. ^ Science Fantasy. XIX (55): 71. October 1962. Missing or empty |title= (help)
  21. ^ David Langford, "Terry Pratchett", in Clute & Grant, Encyclopedia of Fantasy, p. 783.
  22. ^ Franson & DeVore, A History of the Hugo, Nebula, and International Fantasy Awards, pp. 22–25.
  23. ^ "Editorial". Science Fantasy. XXII (65): 2. June–July 1964.
  24. ^ Christopher Priest, "New Wave", in Holdstock, Encyclopedia of Science Fiction, p. 166.
  25. ^ "Title: Strange Highways: Reading Science Fantasy, 1950-1967". www.isfdb.org. Retrieved 19 April 2018.

Sources

Elric of Melniboné

Elric of Melniboné is a fictional character created by Michael Moorcock and the protagonist of a series of sword and sorcery stories taking place on an alternative Earth. The proper name and title of the character is Elric VIII, 428th Emperor of Melniboné. Later stories by Moorcock marked Elric as a facet of the Eternal Champion.

Elric first appeared in print in Moorcock's novella "The Dreaming City" (Science Fantasy No. 47, June 1961). Moorcock's doomed albino antihero is one of the better known in fantasy literature, having crossed over into a wide variety of media, such as role-playing games, comics, music, and film. The stories have been continuously in print since the 1970s.

Future Science Fiction and Science Fiction Stories

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.

The fiction was generally unremarkable, with few memorable stories being published, particularly in the earlier versions of the magazines. Lowndes spent much effort to set a friendly and engaging tone in both magazines, with letter columns and reader departments that interested fans. He was more successful than Hornig in obtaining good stories, partly because he had good relationships with several well-known and emerging writers. Among the better-known stories he published were "The Liberation of Earth" by William Tenn, and "If I Forget Thee, Oh Earth" by Arthur C. Clarke.

Heavy Metal (magazine)

Heavy Metal is an American science fiction and fantasy comics magazine, known primarily for its blend of dark fantasy/science fiction and erotica. In the mid-1970s, while publisher Leonard Mogel was in Paris to jump-start the French edition of National Lampoon, he discovered the French science-fantasy magazine Métal Hurlant which had debuted January 1975. The French title translates literally as "Howling Metal".

When Mogel licensed the American version, he chose to rename it, and Heavy Metal began in the U.S. in April 1977 as a glossy, full-color monthly. Initially, it displayed translations of graphic stories originally published in Métal Hurlant, including work by Enki Bilal, Philippe Caza, Guido Crepax, Philippe Druillet, Jean-Claude Forest, Jean Giraud (a.k.a. Moebius), Chantal Montellier, and Milo Manara. The magazine later ran Stefano Tamburini and Tanino Liberatore's ultra-violent RanXerox. Since the color pages had already been shot in France, the budget to reproduce them in the U.S. version was greatly reduced.

J. T. McIntosh

James Murdoch MacGregor, (14 February 1925 – 2008) was a Scottish journalist and author best known for writing science fiction under the pen name J.T. McIntosh.

Johnny Byrne (writer)

John Christopher Byrne (27 November 1935 – 2 April 2008) was an Irish writer and script editor for the BBC. He travelled extensively in his youth as a travelling poet. During the 1960s he worked as a literary editor, and wrote short stories that were published in Science Fantasy magazine.

Byrne's other works include the novel Groupie (1969, co-written with Jenny Fabian), the BBC "Wednesday Play" Season of the Witch (1971), and the scripts for the films Adolf Hitler: My Part in His Downfall (1972, co-written with original author Spike Milligan and Norman Cohen), and Rosie Is My Relative (1976). He was script editor of the TV series All Creatures Great and Small (1976, 1978, 1985, 1988–1990), writing 29 episodes, and also produced scripts for One by One (1987). Byrne was the creator of the TV drama series Heartbeat (which was loosely based on the Constable books by Nicholas Rhea), writing 23 episodes for 17 series between 1992 and 2005. He also created and wrote for Noah's Ark (1997–98).

Keith Roberts

Keith John Kingston Roberts (20 September 1935 – 5 October 2000) was an English science fiction author. He began publishing with two stories in the September 1964 issue of Science Fantasy magazine, "Anita" (the first of a series of stories featuring a teenage modern witch and her eccentric granny) and "Escapism".Several of his early stories were written using the pseudonym Alistair Bevan. His second novel, Pavane, which is a collection of linked stories, may be his most famous work: an alternate history novel in which the Roman Catholic Church takes control of England following the assassination of Queen Elizabeth I.Roberts wrote numerous novels and short stories, and also worked as an illustrator. His artistic contributions include covers and interior artwork for New Worlds and Science Fantasy, later renamed Impulse. He also edited the last few issues of Impulse although the nominal editor was Harry Harrison.Roberts' first novel, The Furies, makes an appearance in the American TV series Bones in the third season's third episode "Death in the Saddle" (9 October 2007).

Roberts described himself as a political conservative and

an anti-communist.In later life, Roberts lived in Salisbury. He was diagnosed with multiple sclerosis in 1990, and died of its complications in October 2000. Obituaries recalled him as a talented but personally "difficult" author, with a history of disputes with publishers, editors and colleagues.

Kings in Darkness

"Kings in Darkness" is a sword and sorcery short story by Michael Moorcock. It was first published in Science Fantasy No.54 in 1962. It has been reprinted as part of the Elric sagas and also reprinted in the anthology The Spell of Seven, edited by L. Sprague de Camp.

Kyril Bonfiglioli

Kyril Bonfiglioli (born Cyril Emmanuel George Bonfiglioli; 29 May 1928 – 3 March 1985) was an English art-dealer, magazine editor and comic novelist. His eccentric and witty Mortdecai novels have attained cult status since his death.

Land Beyond the Map

Land Beyond the Map is a short science fiction novel written by Kenneth Bulmer. It originally appeared in the magazine Science Fantasy in 1961 under the title "The Map Country". It was subsequently enlarged and published by Ace Books in 1965. It was published in an Ace Double, which also contained another short novel, Fugitive of the Stars by Edmond Hamilton, on the opposite side.

List of science fiction editors

This is a list of science fiction editors, editors working for book and magazine publishing companies who have edited science fiction. Many have also edited works of fantasy and other related genres, all of which have been sometimes grouped under the name speculative fiction.

Editors on this list should fulfill the conditions for Notability for creative professionals in science fiction or related genres. Evidence for notability includes an existing wiki-biography, or evidence that one could be written. Borderline cases should be discussed on the article's talk page.

M. John Harrison

Michael John Harrison (born 26 July 1945), known for publication purposes primarily as M. John Harrison, is an English author and literary critic. His work includes the Viriconium sequence of novels and short stories (1971–1984), Climbers (1989), and the Kefahuchi Tract trilogy, which consists of Light (2002), Nova Swing (2006) and Empty Space (2012). He is widely considered one of the major stylists of modern fantasy and science fiction, and a "genre contrarian". The Times Literary Supplement described him as 'a singular stylist' and the Literary Review called him 'a witty and truly imaginative writer'. Robert Macfarlane has said: "Harrison is best known as one of the restless fathers of modern SF, but to my mind he is among the most brilliant novelists writing today, with regard to whom the question of genre is an irrelevance."

Minus One

"Minus One" is a short story by British author J. G. Ballard; it was first published in the June 1963 edition of Science Fantasy (Volume 20, Number 59). It was later reprinted in the 1967 collection The Disaster Area, and then later in the larger The Complete Short Stories of J. G. Ballard: Volume 1 anthology (2006).

Mr F. is Mr F.

"Mr F. is Mr F." is a short story by British author J. G. Ballard. It first appeared in the August 1961 edition of Science Fantasy (Volume 16, Number 48). It was later reprinted in The Disaster Area (1967), and then in the larger The Complete Short Stories of J. G. Ballard: Volume 1 anthology (2006).

My Experiences in the Third World War

My Experiences in the Third World War by Michael Moorcock was an anthology published by Savoy Books in 1980.

Studio 5, The Stars

"Studio 5, The Stars" is a short story by British author J. G. Ballard. First appearing in the February 1961 edition of Science Fantasy (Volume 15, Number 43); it was reprinted in the collection Billennium the following year. It later appeared in The Four-Dimensional Nightmare (1964), Vermilion Sands (1971) and The Complete Short Stories of J. G. Ballard (2006).

The story is characterised by weird technology and a subtle dystopian ambience. Like the other stories in the collection and in other works by Ballard, the inhabitants of Vermilion Sands are disillusioned and anomic; and artistic culture - which has evolved through exotic and baroque media - is at a slump, in what Ballard later described as a "visionary present".

The Sound-Sweep

"The Sound-Sweep" is a short story by British writer J.G. Ballard. It was first published in Science Fantasy, Volume 13, Number 39, February 1960 and was reprinted in the collection The Four-Dimensional Nightmare.

Uncanny Tales (Canadian pulp magazine)

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.

Venus Smiles

"Venus Smiles" is a short story by British author J. G. Ballard. Originally titled "Mobile", it appeared in the June 1957 edition of Science Fantasy (Volume 8, Number 23). It was then rewritten and appeared in the Vermilion Sands (1971) collection under its new name and later The Complete Short Stories of J. G. Ballard (2006).

Like the rest of the Vermilion Sands collection, this story takes place in the fictional desert town of Vermilion Sands, and also features exotic technology.

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