1950 yilgacha bo'lgan AQShning fantastika va fantastik jurnallari tarixi - History of US science fiction and fantasy magazines to 1950

Birinchi son Ajoyib hikoyalar, 1926 yil aprelda, muqovasi Frank R. Pol

Ilmiy fantastika va hayoliy jurnallar 20-asrning 20-yillarida AQShda nashr etila boshlandi. Ilmiy-fantastik mavzulardagi hikoyalar o'nlab yillar davomida paydo bo'lgan pulpa jurnallari kabi Argosy, ammo 1915 yilga qadar bitta janrga ixtisoslashgan jurnallar bo'lmagan Street & Smith, yirik pulpa noshirlaridan biri chiqdi "Detektiv hikoya" jurnali. Faqat xayoliy va dahshatli narsalarga e'tibor qaratgan birinchi jurnal G'alati ertaklar 1923 yilda ishga tushirilgan va o'zini etakchi sifatida ko'rsatgan g'alati fantastika keyingi yigirma yil ichida jurnal; kabi yozuvchilar H.P. Lovecraft, Klark Eshton Smit va Robert E. Xovard doimiy yordamchilarga aylandi. 1926 yilda G'alati ertaklar qo'shildi Ajoyib hikoyalar tomonidan nashr etilgan Ugo Gernsbek; Ajoyib faqat ilmiy fantastika chop etilgan va fantaziya yo'q. Gernsback ichiga xatlar qatori kiritilgan Ajoyib hikoyalarva bu uyushganlarning yaratilishiga olib keldi fantastika, chunki muxlislar xatlar bilan e'lon qilingan manzillardan foydalangan holda bir-birlari bilan bog'lanishdi. Gernsbek o'zi bosib chiqargan fantastika ilmiy jihatdan aniq va ma'rifiy, shuningdek, ko'ngil ochar bo'lishini xohlar edi, lekin o'z maqsadlariga mos keladigan hikoyalarni olish qiyin edi; u bosdi "Oy hovuzi "tomonidan Ibrohim Merritt 1927 yilda, umuman ilmiy bo'lmaganiga qaramay. Gernsback boshqaruvni yo'qotdi Ajoyib hikoyalar 1929 yilda, lekin tezda bir nechta yangi jurnallarni chiqara boshladi. Wonder Stories, Gernsbackning sarlavhalaridan biri tomonidan tahrir qilingan Devid Lasser, u olgan fantastika sifatini yaxshilash uchun ishlagan. Yana bir erta raqib edi Super-Sciencening hayratlanarli hikoyalari, 1930 yilda paydo bo'lgan, tahrir qilgan Garri Beyts, lekin Bates minimal ilmiy tarkibga ega bo'lgan eng oddiy sarguzasht hikoyalarini chop etdi va uning davridagi ozgina materiallar esga olingan.

1933 yilda Ajablanarli Street & Smith tomonidan sotib olindi va tez orada yangi klassik janrdagi etakchi jurnalga aylandi Myurrey Leyster "Vaqt yonida "1934 yilda. Bir juft raqobatchilar G'alati ertaklar chunki fantaziya va g'alati fantastika paydo bo'ldi, ammo hech biri davom etmadi va 1930-yillar deb hisoblanadi G'alati ertaklargullagan kun. 1939-1941 yillarda ilmiy-fantastik va fantastik jurnallarda shov-shuv ko'tarildi: bu sohaga bir nechta noshirlar kirdilar, shu jumladan Standart jurnallar, bilan Ajablanadigan hikoyalar va Hayajonli hayrat hikoyalari (retitling Wonder Stories); Ommabop nashrlar, bilan Ajablanadigan hikoyalar va Super Science Stories; va Badiiy uy, bilan Sayyora voqealari sayyoralararo sarguzashtning melodramatik ertaklariga bag'ishlangan. Ziff-Devis ishga tushirildi Fantastik sarguzashtlar, hayoliy hamroh Ajoyib. Ajablanarli Rivojlanish davrida bu sohadagi ustunligini kengaytirdi: muharrir, Jon V. Kempbell, o'z ichiga olgan yosh yozuvchilarning barqarorligini rivojlantirdi Robert A. Xaynlayn, Ishoq Asimov va Van Vogt. 1938 yildan boshlab, Kempbell boshqaruvni qo'lga olgan davr Ajablanarli, ko'pincha deb nomlanadi Ilmiy fantastika oltin davri. Ushbu davrdan taniqli hikoyalar orasida Slan, Van Vogt tomonidan va "Tungi tush ", Asimov tomonidan. Kempbell ham ishga tushirildi Noma'lum, hayoliy hamroh Ajablanarli, 1939 yilda; bu birinchi jiddiy raqib edi G'alati ertaklar. Garchi urush davrida qog'oz tanqisligi majbur bo'lsa Noma'lum1943 yilda bekor qilingan bo'lib, hozirda u eng nufuzli pulpa jurnallaridan biri hisoblanadi.

Ikkinchi jahon urushidan atigi sakkizta ilmiy-fantastik va fantastik jurnal omon qoldi. Hammasi hanuzgacha pulpa jurnali formatida edi Ajablanarliga o'zgartirgan dayjest formati 1943 yilda. Ajablanarli mashhur hikoyalarni nashr etishda davom etdi, shu jumladan "Amp mavsumi "tomonidan C. L. Mur va "Katlangan qo'llar bilan ... "tomonidan yozilgan Jek Uilyamson. O'n yil ichida boshqa jurnallardagi badiiy adabiyotning sifati yaxshilandi: Ajablanadigan hikoyalar va Hayajonli hayrat xususan, bir nechta ajoyib materiallar nashr etilgan va e'tiroz bildirilgan Ajablanarli soha rahbariyati uchun. 1940 yillarning oxirlarida yana bir nechta pulpa chiqarila boshlandi, ammo deyarli barchasi eski klassikalarni qayta nashr etish uchun transport vositalariga mo'ljallangan edi. Bir istisno, Ushbu dunyodagi sarguzashtlardan tashqarida tomonidan eksperiment o'tkazildi Avon, badiiy adabiyotni komikslarning ba'zi sahifalari bilan birlashtirish. Bu muvaffaqiyatsizlikka uchradi va faqat ikkita songa cho'zildi. Digest formatidagi jurnallar o'n yillikning oxiriga kelib chiqa boshladi, shu jumladan Boshqa olamlar, tahrirlangan Raymond Palmer. 1949 yilda birinchi son Fantaziya va ilmiy fantastika jurnali paydo bo'ldi, keyin 1950 yil oktyabrda birinchi son bilan chiqdi Galaxy Ilmiy Fantastika; ikkalasi ham hazm bo'ldi va ular orasida tez orada maydon hukmronlik qildi. Ushbu sanadan keyin juda kam ilmiy-fantastik yoki hayoliy pulpa ishga tushirildi; 1950-yillar dayjest jurnallari davrining boshlanishi edi, ammo etakchi pulpa 1950-yillarning o'rtalariga qadar davom etdi va mualliflar asosiy jurnallarga va yirik kitob nashriyotlariga sotishni boshladilar.

Dastlabki jurnallar

Ralph 124C 41+, Hugo Gernsback tomonidan, seriyali Zamonaviy elektrotexnika 1912 yilda

19-asrning oxiriga kelib taniqli ilmiy fantastik mazmundagi hikoyalar Amerika jurnallarida muntazam ravishda paydo bo'ldi.^{[1][eslatma 1]} Ushbu jurnallar, odatda, boshqa tarkibni istisno qilgan holda, badiiy nashrlarni nashr etmagan; badiiy bo'lmagan maqolalar va she'rlarni ham o'z ichiga oladi. 1896 yil oktyabrda Frank A. Munsi kompaniyaning Argosy jurnal birinchi bo'lib faqat badiiy adabiyotni chop etishga o'tdi va o'sha yilning dekabr oyida u arzon yog'och-pulpa qog'ozidan foydalanishni boshladi. Bu endi jurnal tarixchilari tomonidan boshlangan deb hisoblanadi pulpa jurnali davr.^{[3][2-eslatma]} Yigirma yil davomida pulpa badiiy tarkibini har qanday o'ziga xos janr bilan cheklamasdan muvaffaqiyatli bo'ldi, ammo 1915 yilda nufuzli jurnal noshiri Street & Smith kabi ma'lum bir maydonga yo'naltirilgan sarlavhalarni chiqara boshladi "Detektiv hikoya" jurnali va Western Story jurnali Shunday qilib, ixtisoslashgan va bitta janrli pulpalarning kashshofi.^[5][3]

Pulpa ko'payishi bilan ular ilmiy fantastika (SF) ni davom ettirdilar, ikkalasi ham umumiy fantastika jurnallarida. Argosy va Hamma hikoya va sport, detektiv fantastika va (ayniqsa) kabi ixtisoslashgan unvonlarda qahramon pulpalari.^[6][7] Ilmiy fantastika pulpa dunyosidan tashqarida ham paydo bo'ldi: Ugo Gernsbek, 1908 yilda muharriri va noshiri sifatida ishini radio havaskorlari deb nomlangan jurnal bilan boshladi Zamonaviy elektrotexnika, tez orada 1908 yil dekabrda nashr etilgan "Saturnda simsiz aloqa" kabi ilm-fanning kelajakda ishlatilishi haqida taxmin qiluvchi maqolalar qo'shila boshladi. Maqola shunchaki xayoliy mashqlar ekanligini o'quvchilariga tushuntirish uchun etarlicha hazil bilan yozilgan, ammo 1911 yilda Zamonaviy elektrotexnika seriyalashni boshladi Ralph 124C 41+, 2660 yilda paydo bo'lgan roman. 1913 yilda Gernsback yana bir jurnalni chiqara boshladi, Elektr eksperimentatori (qayta nomlangan Ilm va ixtiro 1920 yilda Gernback va boshqalar tomonidan yozilgan ilmiy-fantastik ertaklarni tez-tez chop etgan.^[8]

1919 yilda Street & Smith ishga tushirildi Hayajonli kitob, odatiy bo'lmagan yoki biron bir tarzda tasniflanmaydigan hikoyalar uchun jurnal, aksariyat hollarda ular fantaziya yoki ilmiy-fantastik elementlarni o'z ichiga olgan degan ma'noni anglatadi.^{[5][9][3-eslatma][4-eslatma]} Hayajonli kitob 1919 yil oktyabrda o'n oltita sonli nashrni to'xtatdi; u ba'zi ilmiy fantastikalarni, ayniqsa, qisqa muddatining oxiriga kelib olib borgan, ammo umuman ilmiy fantastika yoki xayoliy pulpa sifatida qaralmaydi.^[10] Ikki yil o'tgach, Gernsback yana bir nomli yana bir jurnalni chiqardi Amaliy elektr va 1924 yilda u o'z obunachilariga faqat ilmiy fantastika nashr etadigan jurnalni taklif qiladigan xat yubordi. Javob zaif edi va Gernsback loyihani to'xtatdi.^[12]

G'alati ertaklar va Ajoyib hikoyalar

Birinchi son G'alati ertaklar, 1923 yil mart kuni. R. R. Epperlining muqovasi.

Birinchi jurnal asosan fantaziya va fantastika bilan bog'liq edi G'alati ertaklar 1923 yil mart oyida paydo bo'lgan.^[13] Dastlab u tahrir qilgan Edvin Baird va Jacobs Clark Henneberger va John M. Lansingerga tegishli bo'lgan "Rural Publishing" kompaniyasi tomonidan chiqarilgan. Qishloq ilgari jurnalni chiqargan edi Detektiv ertaklar. G'alati ertaklar fantaziya va g'alati fantastika bozorini ta'minlash uchun mo'ljallangan edi va Henneberger mavjud bo'lmagan pulpa jurnallariga sotilishi mumkin bo'lmagan darajada g'ayrioddiy materiallarni olishga intildi. Rejalashtirilgan oylik jadvali tez orada siljiy boshladi va iyul va dekabr oylarini o'tkazib yubordi. 1924 yil fevralida, Farnsvort Rayt Bairddan vaqtinchalik muharrir sifatida qabul qildi.^[14] 1924 yil may-iyun-iyul oylari nashr etilgandan so'ng, Henneberger va Lansinger kompaniyalarni ikkitasi jurnallardan birini olishdi. Henneberger nominal boshqaruvni saqlab qoldi G'alati ertaklar, qishloq asosan qarzdor bo'lgan Indianapolisdagi "Kornelius Printing Company" asosiy mulkni o'z zimmasiga oldi.^[15] Jurnal besh oy davomida tanaffus qildi, Kornelius yangi matbaa fabrikasini qurdi.^[16] G'alati ertaklar Farnsvort Rayt doimiy muharriri sifatida 1924 yil noyabrdagi son bilan nashrni davom ettirdi. Rayt kabi iste'dodli fantaziya yozuvchilarini tarbiyalaganligi sababli, jurnal tezda tashqi qiyofasi va sifati jihatidan yaxshilana boshladi Robert E. Xovard va H.P. Lovecraft.^[17]

Rayt tez-tez nashr etilgan ilmiy fantastika, shu jumladan Edmond Xemilton 1926 yil avgustda paydo bo'lgan birinchi hikoya va tomonidan yozilgan J. Shlossel va Otis Adelbert Klayn,^[18][19] shuningdek g'alati va yashirin fantastika.^[20] To'liq ilmiy fantastikaga bag'ishlangan birinchi jurnal qo'shildi G'alati ertaklar 1926 yil 10-martda gazetalarda Ajoyib hikoyalar va aprel kuni. Gernsback o'z obunachilarining so'rovi ilmiy fantastika jurnaliga cheklangan qiziqish bildirganidan bir necha yil o'tgach, uni ishga tushirishni kechiktirdi, ammo nihoyat bu qarorga kelishga qaror qildi. U nashr etishni to'xtatdi Amaliy elektr (yaqinda qayta nomlangan Eksperimentator) lekin muharrirni saqlab qoldi, T. O'Konor Sloan, yangi jurnalni tahrirlash uchun, ammo Gernsback badiiy tarkib bo'yicha so'nggi so'zlarni aytgan. Ning birinchi soni Ajoyib butunlay qayta nashr qilingan materiallardan, shu jumladan Jyul Vern roman Kometada yopiq va hikoyalari H.G. Uells va Edgar Allan Po, lekin tezda yangi fantastika paydo bo'ldi Kler Vinger Xarris va A. Hyatt Verril ularning har biri Gernsbackning dastlabki kitobxonlar musobaqalaridan birida muvaffaqiyat qozondi. Ikkalasi ham barqaror yozuvchi bo'lishdi. Gernsback, shuningdek, maktublar ustunini taqdim etdi va o'z o'quvchilarini u erda qizg'in munozaralarga qo'shilishga undadi. Ko'rinishida Mayk Eshli, fantastika tarixchisi, bu "muvaffaqiyatning haqiqiy siridir Ajoyib hikoyalar va ilmiy fantastika mashhurligining sababi ": maktublar ustunida ko'pchilik yolg'iz bo'lgan ilmiy-fantastik muxlislarga do'stlar orttirish va ularning qiziqishlari haqida suhbatlashish uchun forum berildi. Natijada fikrlovchi o'quvchilarning hamjamiyati tug'ildi. ga fantastika, shuningdek, janrni o'qib ulg'aygan yozuvchilar avlodiga.^[21]

Yagona nashr Ajoyib hikoyalar har yili, 1927 yildan. Frank R. Polning muqovasi.

Ajoyib juda muvaffaqiyatli bo'lib, bir yildan kam vaqt ichida 100000 tirajga chiqdi.^[21] Muhim raqobat paydo bo'lishidan bir muncha vaqt o'tdi, ammo bir yil o'tgach, ikkita kichik xayoliy jurnal nashr etildi Ajoyibbirinchi son.^[22] Bitta, Sehr va sir haqidagi ertaklar 1927 yilda paydo bo'lgan va atigi beshta sonda davom etgan; u sehr-jodu haqidagi hikoyalarda, shu jumladan Houdini seriyasida ixtisoslashgan. Bu moliyaviy muvaffaqiyatsizlik edi va endi asosan nashr etilishi bilan esda qoldi "Sovuq havo ", Lovecraftning hikoyasi. Boshqasi edi Ghost Stories tomonidan 1926 yil o'rtalarida ishga tushirilgan Bernar Makfadden kabi taniqli jurnallarni nashr etgan Haqiqiy hikoya. Materiallarning katta qismi Ghost Stories xuddi shunday konfessional uslubda yozilgan bo'lib, unda haqiqiy voqealar sifatida taqdim etilgan arvohlar bilan uchrashuvlar haqidagi ertaklar mavjud.^[22][23][24]

1927 yil iyun oyida Gernsback nashr etildi Ajoyib hikoyalar har yili, odatdagidan ikki barobar (va ikki baravar narx) Ajoyib hikoyalar. Unda yangi Mars romani, Mars ustasi, tomonidan Edgar Rays Burrouz, Burrouz boshqa joyda sotolmagan, ehtimol unda diniy fundamentalizmga qaratilgan satirik elementlar bo'lgan. Burrouzning nomi savdo-sotiq uchun kuchli yordam edi, chunki Gernsback ikki qavatni ta'minlab berdi Ibrohim Merritt, shuningdek, u juda mashhur bo'lgan, yuqori narxga qaramay, jurnal 150 ming nusxada sotilgan.^[25][26] Ushbu muvaffaqiyat Gernsbackni yana bir ilmiy-fantastika nomini va birinchi sonini chiqarishga ishontirdi Har chorakda ajoyib hikoyalar 1928 yilda bahorgi qopqoq sanasi bilan paydo bo'lgan.^[26] Xuddi shu yili Gernsback E.E.Smitning birinchi romanini nashr etdi Ajoyib, sarlavhali Kosmosning Skylark. Bu juda muvaffaqiyatli edi va Smitning kuchi bilan Skylark qator romanlar va uning keyingi asarlari Lensman seriyali, Smit 1930 yillarning ilmiy fantastika o'quvchilari uchun "eng buyuk ismlardan biri, hatto agar buyuki" bo'ldi.^[27]

Gernsbekning e'lon qilgan maqsadlari Ajoyib tarbiyalash va ko'ngil ochish uchun edi.^[28] Birinchi sonining tahririyatida u ta'kidlaganidek: "Bu ajoyib ertaklar nafaqat o'qishni juda qiziqarli qiladi, balki ular har doim ibratlidir. Ular biz boshqacha tarzda olishimiz mumkin bo'lmagan bilimlarni beradi va ular juda yoqimli shaklda. Uchun zamonaviy zamonaviy ilmiy yozuvchilarning eng zo'rlari bizni o'rgatayotganimizni sezdirmasdan bilim va hattoki ilhom baxsh etish qobiliyatiga ega ".^[29] Gernsback uchun qiziqarli va sifatli ilmiy materiallarni taqdim etish maqsadiga javob beradigan yangi materialni topish qiyin edi. Ajoyib qayta nashr etishning yuqori qismini o'z ichiga olgan. U o'zining o'quvchilari Verne va Uellsning ilmiy hikoyalaridan ko'ra Burrouz va Merrittning hayoliy romantikalarini afzal ko'rishganini aniqladilar va ehtimol javoban Merrittning asarlarini nashr etishdi "Oy hovuzi "ning 1927 yil may sonida Ajoyib. Hikoya umuman ilmiy bo'lmagan edi; Gernsbekning ushbu hikoyaga kirishida Merritt yangi fanni joriy qilayotgani da'vo qilingan, ammo Eshli Gernsbek shunchaki "o'zining asosiy aqidasiga to'g'ri kelmasa, bunday hayoliy fantastika jurnalga qo'shilishi uchun bahona izlamoqda", deb ta'kidlaydi.^[30]

Wonder Stories va Ajablanarli

1929 yil sentyabr oyi soni Ilmiy mo''jizaviy hikoyalar; Frank R. Pol tomonidan nashr etilgan.

1929 yil boshida Gernsback bankrot bo'ldi va uning jurnallari Bergan A. Makinnonga sotildi; ikkalasi ham Ajoyib hikoyalar va Har chorakda ajoyib hikoyalar yangi egalik ostida nashrni davom ettirdi va Sloane muharrir bo'lib qoldi. Ikki oy ichida Gernsback ikkita yangi jurnal chiqardi, Air Wonder Stories va Ilmiy mo''jizaviy hikoyalar. Gernsbek hanuzgacha ilmiy fantastika tarbiyaviy ahamiyatiga ishongan va uning maqsadlariga zid bo'lgan Air Wonder Stories kabi aviatsiya pulpalarida paydo bo'lgan fantastika bilan Osmon qushlari va Uchar Aces "sof" yovvoyi-g'arbiy "dunyo urushi sarguzashtlari va osmonni bezovta qiladigan"^[31] hikoyalar, uning so'zlariga ko'ra. U to'ldirishni rejalashtirgan Air Wonder "ilmiy-mexanik-texnik yo'nalishlarda qat'iy ravishda, sarguzashtlar, izlanishlar va yutuqlarga to'la kelajakning uchib ketadigan hikoyalari" bilan.^[31] Ikkalasi ham Air Wonder va Ilmiy mo''jiza tomonidan tahrir qilingan Devid Lasser, ilgari muharrir sifatida tajribasi bo'lmagan va ilmiy fantastika haqida kam ma'lumotga ega bo'lgan, ammo ilmiy darajasi MIT Gernsbekni uni olishga ishontirgan edi.^[32] Lasser ba'zi mashhur mualliflar tomonidan chop etilgan, shu jumladan Fletcher Pratt, Stanton Koblents va Devid X. Keller,^[33] va Gernsback tez-tez yugurib kelgan ikki tanlov g'olibi keyinchalik bu sohada taniqli bo'lishdi: Raymond Palmer, keyinchalik muharriri Ajoyib hikoyalarva Jon Vindxem, 1951 yilgi romani bilan tanilgan Triffidlar kuni.^[34] Ikkala jurnalning o'quvchilari bir-biriga juda mos tushdi, aksariyat o'quvchilar aviatsiya muxlislari emas, balki fantastika fanatlari edi.^[35] Ushbu ikkita unvon bilan, Gernsback qo'shib qo'ydi Ilm-fan har chorakda hayratlanarlidir 1929 yil oktyabrda, shuningdek, Lasser tomonidan tahrirlangan.^[36] Shu bilan birga, Gernsbek u allaqachon hikoyalar sotib olgan ba'zi yozuvchilarga "detektiv yoki jinoiy sirli hikoyalarni yaxshi narsalar bilan" so'rab xat yubordi. ilmiy fon "deb nomlangan va 1930 yil yanvarda u ishga tushirilgan Ilmiy Detektiv Har oy, uning muovini Hektor Grey tomonidan yangi xoch-janr nomi sifatida tahrirlanib, unga to'rtta jurnal berildi.^[37]

1930 yil yanvarida ham birinchi soni chiqdi Super-Sciencening hayratlanarli hikoyalari, bu o'n yil ichida ushbu sohadagi eng nufuzli jurnalga aylanadi. Nashriyot edi Uilyam Kleyton, pulpa nashrlarining muvaffaqiyatli noshiri. 1928 yilda o'sha paytgacha Kleytonda ishlagan Garold Xersi yangi ilmiy-fantastik jurnalni tarkibga qo'shishni taklif qildi; Kleyton bunga ishonmagan, ammo keyingi yili fikridan qaytgan. Ajablanarlimuharriri, Garri Beyts, Gernsbekni rag'batlantirgan ta'lim maqsadlariga qiziqmasdi. Bates to'ldirildi Ajablanarli minimal ilmiy tarkibga ega bo'lgan sarguzashtli hikoyalar bilan: hikoyalar odatda sifatsiz deb hisoblanadi va Eshli Batesni formulali syujetlar bilan "ilmiy fantastika ideallarini yo'q qilgan" deb hisoblaydi.^[38] Gernsback jurnallari past narxlar va juda sekin to'lovlar bilan mashhur edi va AjablanarliYuqori stavkalar va tez to'lash kabi taniqli pulpa mualliflarini jalb qildi Myurrey Leyster va Jek Uilyamson.^[38] (Keyinchalik Asimovning ta'kidlashicha, dastlabki sanoat davrida to'lov "nashrda emas, balki (aytilgan gap) sud da'vosi bilan to'lagan".)^[39] Ajablanarli raqobatchilariga qaraganda pul uchun ham eng yaxshi narx edi, ham eng past narx, ham Ajoyib, eng ko'p sahifalar.^[40] 1930 yil o'rtalariga kelib, Gernsback birlashib, jurnallarini birlashtira boshladi Air Wonder bilan Ilmiy mo''jizaviy hikoyalar.^[41] Birlashtirilgan jurnal nomini oldi Wonder Storiesva Ilm-fan har chorakda hayratlanarlidir xuddi shunday nomlangan Har chorakda hayratlanarli voqealar.^[36] Xuddi shu paytni o'zida Ilmiy Detektiv Har oy qayta nomlangan Ajoyib detektiv ertaklar. Sarlavhalardan "Ilm" va "Ilmiy" ni olib tashlash o'quvchilarga bu haqiqatan ham ilmiy davriy nashrlar degan taassurot qoldirmaslik uchun qilingan bo'lishi mumkin.^[42] Ajoyib detektiv ertaklar, hech bo'lmaganda, sarlavhani o'zgartirish yordam bermadi va oktyabr oyidan keyin Gernsback jurnalni Wallace Bamberga sotdi, u keyingi yili yana beshta sonini nashr etdi, ammo u erda hech qanday ilmiy fantastika yoki fantaziya tarkibi yo'q edi.^[43][44]

Birinchi son Super-Sciencening hayratlanarli hikoyalari, 1930 yil yanvarda. Muqova muallifi Vesso.

Ayni paytda, Ghost Stories, 1926 yilda boshlangan Macfadden unvoni, sotilishning pasayishiga duch keldi. 1930 yilga kelib mustaqil noshir sifatida ish boshlagan Xersi bu nomni Makfaddendan oldi va boshqa jurnalni boshladi, Mo''jizaviy fan va fantaziya hikoyalari, keyingi yil, bilan Elliott Dold muharriri sifatida. Ikkala tashabbus ham muvaffaqiyatli bo'lmadi. Mo''jiza Dold kasal bo'lib qolganida, faqat ikkita sonidan keyin nashrni to'xtatdi, ammo har qanday holatda ham sotuvlar yomon edi va Hersi jonlana olmadi Ghost Storiesboylik; u 1932 yil boshida bekor qilingan.^[23][45][46] 1931 yil ham ko'rdi Ajoyib hikoyalar yana bir bor qo'llarini almashtirish; bu safar uni Macfadden sotib oldi, uning chuqur cho'ntaklari izolyatsiyaga yordam berdi Ajoyib depressiya ta'siridan.^[47] Sloane muharrir sifatida davom etdi.^[48]G'alati ertaklar hozirgacha yaxshi tashkil etilgan edi,^[49] ammo 1931 yilda Kleyton nihoyat unga to'g'ridan-to'g'ri raqobat berdi G'alati ertaklar Bates tomonidan tahrirlangan. Uning raqibi singari, G'alati ertaklar fantastika bilan bir qatorda tez-tez nashr etiladigan ilmiy fantastika; kabi Ajablanarli Bu raqobatdoshlarga qaraganda yaxshiroq stavkalarni to'lagan va natijada ba'zi bir yaxshi yozuvchilarni jalb qilgan, shu jumladan Jek Uilyamson, uning "Zulmatning bo'rilari" boshqa o'lchovli mavjudotlar tomonidan bosib olinishi haqidagi hikoya uning yaxshi eslangan hikoyalaridan biridir.^[50] G'alati ertaklar uzoq davom etmadi: 1932 yil oxiriga kelib, Kleyton moliyaviy qiyinchiliklarga duch keldi va Ajablanarli ikki oylik jadvalga o'tkazildi. Ikki oyda bir, G'alati ertaklar shuningdek, nashr etish chastotasini kamaytirdi. Kleyton qarzlarining asosiy qismi uning printeriga tegishli bo'lib, uni Kleyton nashriyotini sotib olishiga yo'l qo'ymaslik uchun sotib olishga urindi, ammo bu halokatli harakatni isbotladi. Unda operatsiyani bajarish uchun mablag 'etishmadi va bankrot deb e'lon qilishga majbur bo'ldi. Ikkala jurnalning 1933 yil yanvar oyidagi soni ham oxirgisi bo'lishi kerak edi, ammo yana bitta sonini chiqarish uchun etarli miqdordagi hikoyalar inventarizatsiyada qoldi Ajablanarli1933 yil mart oyida paydo bo'lgan.^[51] Street & Smith sotib olingan Ajablanarli va G'alati ertaklar Kleyton aktivlarini sotishdan va qayta ishga tushirildi Ajablanarli o'sha yilning oktyabr oyida. G'alati ertaklar yana paydo bo'lmadi; Street & Smith hikoyalarni yuritishga qaror qildi G'alati ertaklarinventarizatsiya Ajablanarli o'rniga.^[52]

Da Wonder Stories, Devid Lasser 1930-yillarning boshlarida muharrir bo'lib qoldi,^[53] Garchi Har chorakda hayratlanarli voqealar 1933 yil boshida byudjet sabablari bilan qisqartirilishi kerak edi.^[54] Lasser o'zlarining mualliflari bilan yozishmalarda ilmiy savodxonlik darajasini va ularning yozish sifatini oshirishga yordam berishdi; Asimov tasvirlab berdi Wonder Stories "majburiy zamin" sifatida, bu erda yosh yozuvchilar o'z kasblarini o'rgandilar.^[55] Lasser odatdagi pulpa konventsiyalaridan tashqarida bo'lgan materiallarni chop etishga tayyor edi, masalan Erik Temple Bell "s Vaqt oqimi va Festus Pragnell "s Graypecning Yashil odami.^[56] Sf tanqidchi Jon Klyut qilish uchun Lasserga kredit beradi Wonder Stories o'z davrining eng yaxshi ilmiy-fantastik jurnali,^[57] va tanqidchilar Piter Nicholls va Brayan Stableford uni Gernsbekning ushbu janrdagi eng yaxshi namoyishi deb hisoblang.^[58] Muvaffaqiyatiga qaramay, Lasserni 1933 yil o'rtalarida qo'yib yuborishdi, ehtimol u juda maoshli edi, chunki o'sha paytda Gernsbek ishlarida moliyaviy inqirozga oid ba'zi dalillar mavjud. Lasser ko'proq vaqtni mehnat huquqlari bilan ishlashga sarf qilar edi va Gernsbek ham tahririyat vazifalarini e'tiborsiz qoldirayotganini his qilgan bo'lishi mumkin. Gernsback Lasserni 17 yoshli fantastika fanati bilan almashtirdi, Charlz Xornig, Lasserning ish haqining uchdan biridan kamrog'ida.^[59][60][61]

Gernsbekdan Kempbellgacha

1935 yil sentyabrdagi son G'alati ertaklar; Margaret Brundage tomonidan tayyorlangan muqova

Street & Smith, yaxshi tarqatish tarmog'iga ega bo'lgan va qayta tiklangan pulpa nashri edi Ajablanarli tezda raqobatbardosh edi.^[62] Bu tahrir qilingan F. Orlin Tremeyn, Desmond Xoll yordami bilan; ikkalasi ham Kleyton qoldiqlaridan Strit va Smitga kelishgan.^[63] Tremeyn tajribali pulpa muharriri edi,^[63] va Street & Smith unga so'z uchun bir sent miqdorida byudjet berdi, bu raqobatdosh jurnallar to'lashdan ko'ra yaxshiroq edi.^[64] 1933 yil dekabrda Tremeyn "g'oyaviy variant" hikoyalarini chaqirib, o'ziga xos g'oyalarni o'z ichiga olgan va shunchaki ilmiy-fantastik kontekstda sarguzasht mavzularini takrorlamagan. Tremeyn tomonidan "fikrlarning variantlari" deb topilgan dastlabki hikoyalar har doim ham o'ziga xos bo'lmagan, ammo tez orada Tremeyn boshqa jurnallarda tahririyat taqiqlari qoidalariga zid bo'lgan hikoyalarni nashr etish orqali tavakkal qilishga tayyor ekanligi ma'lum bo'ldi.^[65] 1934 yil oxiriga kelib, Ajablanarli etakchi ilmiy fantastika jurnali edi; o'sha yili nashr etilgan muhim hikoyalarga Myurrey Leysterning "Vaqt yonida ", muqobil tarix g'oyasidan foydalangan birinchi janrdagi fantastika hikoyasi; Kosmik Legion, Jek Uilyamson tomonidan; va "Alacakaranlık", tomonidan Jon V. Kempbell, Don A. Stuart sifatida yozish.^[66] Bir yil ichida AjablanarliUning tiraji taxminan 50 mingga baholandi, bu tanlovdan ikki baravar ko'p.^[62]

Tremeyn o'zining "fikrlash varianti" siyosatini e'lon qilganidan bir oy o'tib, Xornig o'zining "Yangi siyosati" ni boshladi Wonder Stories; fikr variantlarida bo'lgani kabi, maqsad eskirgan g'oyalarni qayta ishlagan o'ziga xoslik va hikoyalarni ta'kidlash edi.^[67] Xornigning stavkalari pastroq edi Ajablanarliva ba'zan uning yozuvchilariga juda kech maosh to'langan yoki umuman berilmagan; ushbu nogironliklarga qaramay, Xornig ba'zi yaxshi materiallarni, shu jumladan topishga muvaffaq bo'ldi Stenli G. Vaynbaum "Marslik Odisseya ", 1934 yil iyulda paydo bo'lgan Ajoyib va tez-tez qayta nashr etilgan.^[67]

Ajoyib hikoyalarva uning singlisi jurnali, Har chorakda ajoyib hikoyalar, ikkalasi ham T. O'Konor Sloan tomonidan 1929 yilda Gernsback ularni boshqarish huquqini yo'qotganidan beri tahrir qilingan va 1930 yillarning boshlarida ozgina eslatmalarni nashr etgan, ammo Sloan keyinchalik bir nechta yozuvchilarning birinchi hikoyasini taniqli bo'lish uchun bosib chiqargan, shu jumladan. Jon V Kempbell,^[68] John Wyndham va Xovard tez.^[48] The Har chorakda jadval 1932 yilda tartibsiz bo'lib qoldi va 1934 yilning kuzida nashr etilishi to'xtatildi.^[69] G'alati ertaklar 1930 yilda jurnalning aksariyat pullarini muzlatib qo'ygan bank ishdan chiqqan edi,^[70] va yaxshi qabul qilingan materiallarni nashr etishda davom etmoqda^[71]- aksariyat fantaziya va dahshat, ammo shunga qaramay ba'zi fantastika.^[72] H.P. Lovecraft va Robert E. Xovard doimiy yordamchilarga aylanishdi,^[49] va Margaret Brundage muqovalarni bir muncha vaqt monopollashtirdi, ehtimol jurnalda ishlash uchun eng taniqli rassom bo'ldi; deyarli barcha muqovalarida yalang'och figura bor edi.^[73] Virjil Finlay 1930-yillarning o'rtalarida ichki san'at asarlariga hissa qo'shishni boshladi;^[74] Finlay ham, Brundage ham o'quvchilarga juda yoqdi.^[73][74]

Gernsback 1934 yilda boshqa janrlardagi ba'zi sheriklarning fantastika nomlarini sinab ko'rdi, ammo muvaffaqiyatsiz bo'ldi va Wonder Stories"pasayish orqaga qaytarilmas edi. O'quvchilarini faqat obuna modelini qo'llab-quvvatlashga ishontirishga muvaffaqiyatsiz urinishdan so'ng, u voz kechdi va jurnalni sotdi Ned Pines ning Standart jurnallar 1936 yil fevralda.^[75] U qayta nomlangan Hayajonli hayrat hikoyalari Pines kabi boshqa unvonlarga mos kelish Hayajonli detektiv va berilgan Mort Weisinger nazorati ostida tahrirlash Leo Margulies, Standard-ning bosh muharriri. Format o'zgarishsiz qoldirildi, ammo hikoyalar va muqovalar harakatga yo'naltirilgan bo'lib qoldi. 1936 yil avgustda chop etilgan "Standard" ning birinchi sonida bir nechta taniqli yozuvchilarning hikoyalari, shu jumladan Rey Kammings, Eando Binder, va Stenli G. Vaynbaum, ammo umuman olganda fantastika topilishi mumkin bo'lgan narsalarga nisbatan sodda emas edi Ajablanarli. "Zarnak" komiksini sinab ko'rdi, ammo bu atigi sakkizta songa etdi.^[76]

1937 yil oktyabrdagi sonida Earl Peirce "The Homicidal Diary" uchun Virjil Finlay tomonidan ichki rasm. G'alati ertaklar

1936 yilda yana ikkita ilmiy-fantastik va fantastik jurnallar chiqarila boshlandi, ammo yil oxiriga qadar davom etmadi. 1931 yilda bozorni sinab ko'rgan Hersi Mo''jiza, olib chiqdi Flash Gordon g'alati sarguzashtlar jurnali, pulpa jurnallarini komiks muxlislariga sotish uchun. Everett Bleiler, fantastika tarixchisi, hikoyalarni "moronik" va "uchinchi daraja" deb ta'riflaydi. Garchi jurnal birinchi nashrdan foydalanishga mo'ljallangan bo'lsa-da Flash Gordon seriyali, bu muvaffaqiyatsizlikka uchradi va faqat bitta muammo paydo bo'ldi.^[77][78] Jodugarning ertaklari, mashhur bilan bog'langan fantaziya va dahshat pulpasi shu nomdagi radio shou, 1936 yil noyabr va dekabr oylaridagi ikkita soni bilan bir oz ko'proq muvaffaqiyatga erishdi. Eshli badiiy adabiyotni sifatli deb hisoblaydi va jurnalning muvaffaqiyatsizligi nashriyotchi Karvudning kichikligi va nisbatan tajribasizligi va kuchsizligi tufayli bo'lishi mumkin. moliyalashtirish va taqsimlash.^[79]

1937 yil oxirida Street & Smith Tremaine-ni tahririyat direktori yordamchisiga va uning muharriri sifatida o'rnini egalladi Ajablanarli Jon V Kempbell tomonidan olingan. Bir necha oydan so'ng Street & Smith Tremeynni qo'yib yubordi va Kempbellga jurnal bilan erkinroq qo'l uzatdi. Kempbell darhol sarlavhani o'zgartirdi Ajablanadigan hikoyalar ga Ajablanadigan ilmiy-fantastik; uning muharrirlik siyosati ilmiy fantastika etuk o'quvchilariga qaratilgan edi va u buni his qildi "Ajablanadigan hikoyalar"to'g'ri tasvirni etkaza olmadi. Shuningdek, u o'zining muqovachilaridan Tremeyn davrida bo'lganidan ko'ra ko'proq hushyor va unchalik shov-shuvli bo'lmagan badiiy asarlar yaratishni iltimos qildi. Uning eng muhim o'zgarishi uning yozuvchilariga bo'lgan umidlarida edi: u ulardan hikoyalar yozishni iltimos qildi go'yo ular kelajakdagi jurnalda ilmiy bo'lmagan fantastik hikoyalar sifatida nashr etilishi mumkin edi, kelajak o'quvchisi hayotidagi gadjetlar uchun uzoq izohlarga muhtoj bo'lmaydi, shuning uchun Kempbell yozuvchilardan tabiiy ravishda tanishtirish usullarini topishni iltimos qildi. Shuningdek, u hikoyalar g'oyalarini rag'batlantirish maqsadida muntazam ilmiy ilmiy maqolalarni chop etishni boshladi.^[80] Kempbellning yondashuvi boshqacha edi Ajablanarli raqiblardan; Algis Budrys "bu SF jurnaliga o'xshamasligini" esladi, chunki muqovalarda avtomat qurolli erkaklar va katta ko'krakli ayollar tasvirlanmagan.^[81]

Ayni paytda, Bernarr Makfaddenning Teck nashrlari, egasi Ajoyib hikoyalar, moliyaviy qiyinchiliklarga duch keldi va 1938 yilda jurnal sotildi Ziff-Devis, Chikagodagi noshir.^[82] Raymond Palmer, muharriri, mahalliy muxlis edi. Sloan ostida Ajoyib xira edi; Palmer bu qiziqarli bo'lishini xohladi va tez orada jurnalni o'zgartirib, eskapist hikoyalarini e'lon qildi. U qila olmadi Ajoyib uchun haqiqiy raqib Ajablanarliva Eshli buni taxmin qilmoqda Bernard G. Devis, Ziff-Devis tahririyatlarini boshqargan, Palmerga jiddiy ilmiy fantastikaga emas, balki o'yin-kulgiga e'tibor berishni buyurgan bo'lishi mumkin.^[83]

1930-yillarda qahramon pulpalari gazeta do'konlarida eng mashhur unvonlardan biri bo'lgan; kabi bitta belgining sarguzashtlariga qaratilgan jurnallar edi Doc Savage yoki Soya. Ular ko'pincha ilmiy-fantastik syujetlarga ega edilar, lekin asosan ilmiy-fantastik yoki fantastik jurnallar emas edilar. Aniq tasavvurga ega bo'lgan bir misol Doktor o'limi, unda g'ayritabiiy kuchlarga ega bo'lgan yovuz daho namoyon bo'ldi. 1935 yil fevral oyida paydo bo'lgan va atigi uchta songa cho'zilgan.^[84]

Bumning boshlanishi

1939 yil aprel-may oylari soni Marvel ilmiy hikoyalari; tomonidan san'at asarlari Norman Sonders

Kempbell muharriri sifatida qadamini ura boshlaganida Ajablanarli, ilmiy-fantastik jurnallarni nashr etishda birinchi o'sish boshlandi Marvel ilmiy hikoyalari 1938 yilda paydo bo'lgan. Bu noshirlar Ibrohim va Martin Gudman ilmiy fantastika va fantaziya nomlari ro'yxatini kengaytirish. Ular "bilan tanilgan"g'alati tahdid "jurnallar," jinsiy aloqa va sadizm "ni hikoyalar qatoriga qo'shadigan, odatda g'ayritabiiy bo'lib tuyuladigan, ammo oxir-oqibat odamning yomon ishi ekanligi aniqlangan tahdid tufayli ayollarni xavf ostiga qo'yadigan janr. Marvel ilmiy hikoyalari, Gudmenlar o'z mualliflaridan ilmiy fantastika sohasidagi odatdagidan ko'proq jinsiy aloqani o'zlarining hikoyalariga qo'shishni so'rashdi; O'quvchilarning reaktsiyasi shunchaki xushbo'y hikoyalarga salbiy ta'sir ko'rsatdi, ammo Gudmenlar jurnalni 1941 yil boshigacha davom ettirdilar va oxir-oqibat 1950 yilda yana bir qator ilmiy fantastika jurnalining ko'tarilishi boshlanganda uni yana bir nechta sonlar uchun qayta tikladilar.^[85] Hamroh jurnal, Dinamik fan hikoyalari, 1939 yil fevralda paydo bo'lgan; u uzoqroq hikoyalarni ko'tarishga mo'ljallangan edi, ammo atigi ikki soni davom etdi.^[86]

Ilmiy-fantastik va fantastik janrlar uchun 1939 yilda birinchi bo'lib chiqadigan bir nechta boshqa jurnallar muhimroq edi. Birinchi bo'lib Standard Magazines jurnalidan paydo bo'ldi. Ajablanadigan hikoyalar va G'alati hikoyalar, mos ravishda yanvar va fevral oylarida ishga tushirildi Hayajonli hayrat hikoyalari; Mort Weisinger uchalasini ham tahrir qildi.^[87][88] Ajablanarli har bir sonida etakchi roman va "Shon-sharaf zali" ni qayta nashr etish bo'limiga kiritilgan; ikkinchisi mumkin edi, chunki noshir Standard Magazines orqa katalogiga egalik qildi Wonder Stories. O'sha paytda boshqa biron bir ilmiy-fantastik pulpa romanlarni o'z ichiga olmagan; o'quvchilar ma'qullashdi va Ajablanarli tezda eng mashhur ilmiy-fantastik jurnallardan biriga aylandi.^[87] G'alati hikoyalar ga to'g'ridan-to'g'ri raqib sifatida ishga tushirildi G'alati ertaklar, va birinchi sonda ko'pchilik ishtirok etdi G'alati ertaklar'eng mashhur mualliflar, shu jumladan Robert Bloch, Avgust Derlet, Genri Kuttner va Meni Ueyd Uellman. Bloch, Derlet va Kuttnerlar jurnal hayotida tez-tez ishtirok etganlar, ammo Eshli uni yomon taqlid deb biladi. G'alati ertaklar, shu vaqtdan beri uning hikoyalari antologlashtirildi.^[88] 1938 yil oxirida G'alati ertaklaregasi B. Kornelius jurnalga bo'lgan qiziqishini noshiri Uilyam J. Delaneyga sotdi Qisqa hikoyalar, umumiy badiiy jurnal. Delaneyning ofislari Nyu-Yorkda va G'alati ertaklar'muharriri Farnsvort Rayt u erga Chikagodan ko'chib kelgan. Delaney tirajni ko'paytirish uchun sahifalar soniga va chastotasiga bir nechta o'zgartirishlar kiritdi, ammo hech biri muvaffaqiyatli bo'lmadi.^[89] Bu sodir bo'lganda, boshqa raqib G'alati ertaklar bu safar Street & Smith tomonidan ishga tushirildi. Yangi jurnal Noma'lum, uchun sherik bo'lgan Ajablanarli va shuningdek, Jon V. Kempbell tomonidan tahrirlangan.^[90] Kempbellning jurnal uchun e'lon qilgan siyosati "bu termin haqidagi tushunchangizni o'zgartirish uchun ilgari paydo bo'lganidan hozirgacha farq qiladigan xayolni taklif qilish" edi;^[91] Maqsad "fantastika uchun fantastika asoslarini" olib kelish edi,^[92] Eshli so'zlari bilan aytganda. Noma'lumBirinchi son 1939 yil martda, bilan L. Ron Xabard va L. Sprague de lager tez orada eng tez-tez yordam beruvchilar orasida.^[93]

1939 yil mart soni Ilmiy fantastika; Frank R. Polning badiiy asarlari

1939 yil mart oyida bu sohaga yangi noshir kirdi: Louis Silberkleit, ilgari Gernsbackda ishlagan, egasi edi Moviy lentali jurnallar iz; u ishga tushirdi Ilmiy fantastika, bilan kuzatib boring Kelajakdagi fantastika o'sha yilning noyabrida. Ikkalasini ham tahrir qilgan Charlz Xornig tahrir qilgan Wonder Stories Gernsback uchun. Silberkleit Xornigga juda cheklangan byudjetni taqdim etdi, shuning uchun u kamdan-kam hollarda yaxshi yozilgan bozorlar tomonidan rad etilmagan bo'lsa, kamdan-kam uchraydigan yozuvchilarning arizalarini ko'rgan. Natijada o'rtacha fantastika paydo bo'ldi.^[94] Silberkleit ham to'lashda sust edi, bu esa mualliflarning o'z ishlarini qaerga jo'natish to'g'risida qaror qabul qilishida qo'shimcha tushkunlik bo'ldi.^[95] May oyida Ziff-Devis, nashriyotlari Ajoyib hikoyalar, kurashga qo'shildi, bilan Fantastik sarguzashtlar, shuningdek Raymond Palmer tomonidan tahrirlangan. Xuddi shunday Ajoyib, Palmer yangi marralarni zabt etishga urinishdan ko'ra, o'yin-kulgiga e'tibor qaratdi. Fantastik sarguzashtlar raqib sifatida joylashtirilmagan G'alati ertaklar yoki Noma'lum, lekin buning o'rniga Edgar Rays Burrouz uslubidagi boshqa dunyoviy sarguzashtlarga e'tibor qaratdi va tez orada injiq fantaziya bilan ham obro'ga ega bo'ldi.^[96]

Asl pulpa nashriyoti Munsey kompaniyasi, shu paytgacha bag'ishlangan ilmiy-fantastik yoki fantastik jurnal yo'q edi, lekin tez-tez nashr etiladigan hikoyalar Argosy va Hamma hikoya aniq janrda bo'lgan. 1939 yil oxirida Munsey ishga tushirildi Mashhur hayoliy sirlar ushbu eski hikoyalarni qayta nashr etish uchun vosita sifatida. Muharriri, Meri Gnaedinger, sentyabr / oktyabr oylarining birinchi soni uchun Merrittning "Oy hovuzi" va Rey Kammingsning "Oltin atomli qiz" ni tanlang; ikkala sarlavha ham o'quvchilarni jalb qilishi mumkin edi. Gnaedinger Virjil Finleyni ikkinchi soni uchun ichki rasmlarni tayyorlashga jalb qildi va tez orada jurnal muvaffaqiyatli bo'lib, ikki oylik nashrdan oylik nashrga o'tdi.^[97]

To'qqizinchi va so'nggi 1939 yilgi ilmiy-fantastik yoki fantastik jurnal 1939 yilgi qopqoq sanasi bilan chiqdi Sayyora voqealari, uning birinchi soni dekabrga bag'ishlangan. Nashriyot edi Badiiy uy, 1920-yillarda muvaffaqiyatli pulpa noshiri bo'lgan, ammo depressiya vaqtincha eshiklarini yopgan. 1934 yilda qayta boshlanganidan so'ng Fantastika uyi detektiv va romantik jurnallarda ixtisoslashgan va Sayyora Love Romances, Inc izi tomonidan nashr etilgan. Muharriri Malkolm Reys yosh o'quvchilarni maqsad qilib qo'ydi va faqat sayyoralararo fantastikaga e'tibor qaratdi, garchi dastlab hikoyalar shu qadar kuchsiz ediki, Eshli Raysni kerakli materiallarni sotib olish uchun etarli vaqt topmasdan jurnalni nashr etishga majbur bo'lgan deb taxmin qilmoqda.^[98]

Oltin asr

Jon Kempbellning eskizlari

Kempbell muharriri sifatida ish boshlaganida Ajablanarli, u shu sohadagi ba'zi yirik yozuvchilarni jalb qila boshladi Klifford D. Simak, L. Ron Xabard va Jek Uilyamson. Ning ishga tushirilishi Noma'lum maydonda Kempbellning ustunligini kuchaytirdi; Genri Kuttner, C.L. Mur va L. Sprague de Camp Kempbellning ikkala jurnaliga o'z hissalarini qo'shdilar. Ushbu va boshqa yozuvchilar bilan ishbilarmonlik munosabatlarini rivojlantirish bilan bir qatorda, Kempbell ko'plab yangi iste'dodlarni kashf etdi va tarbiyaladi. 1938 yilda u sotib oldi "Lester del Rey" birinchi hikoyasi, "Sodiq"; keyingi yil u birinchi hikoyalarini nashr etdi Van Vogt, Robert A. Xaynlayn va Teodor Sturgeon tomonidan erta hikoya bilan birga Ishoq Asimov. Ushbu yozuvchilarning barchasi kuchli aloqada bo'lgan Ajablanarli Keyingi bir necha yil ichida va Kempbell tahririyatidan boshlanadigan davr ba'zan deb nomlanadi Ilmiy fantastika oltin davri.^{[80][99][100]}

Heinlein tezda eng samarali hissadorlardan biriga aylandi Ajablanarli, kelgusi ikki yil ichida uchta roman bilan birga deyarli yigirma hikoyani nashr etdi: Agar bu davom etsa -, Oltinchi ustun va Metuselahning bolalari.^[101] 1940 yil sentyabrda van Vogtning birinchi romani Slan, ketma-ketlashtirishni boshladi; kitob qisman Kempbellning van Fogtga qarshi supermen nuqtai nazaridan superman haqida hikoya qilishning iloji yo'qligi haqidagi da'vosidan ilhomlangan. Bu Kempbell tomonidan nashr etilgan eng mashhur hikoyalardan biri bo'lib, Kempbellning yozuvchilari bilan g'oyalarini oziqlantirish va sotib olmoqchi bo'lgan materiallarini yaratish bo'yicha ishlaganligining namunasidir.^[102] Asimovning "Robot "seriyalar 1941 yilda shakllana boshladi"Sabab "va"Yolg'onchi! "aprel va may oylarida nashr etilgan; kabi Slan, bu hikoyalar qisman Kempbell bilan suhbatlardan ilhomlangan.^[103] 1941 yil sentyabr oyidagi sonda Asimovning qissasi "Tungi tush ", hozirgacha yozilgan eng maqtovga sazovor ilmiy fantastika hikoyalaridan biri,^[103] va noyabr oyida, Ikkinchi bosqich Lensmenlari, Smitdagi roman Lensman seriya, seriyalashni boshladi.^[102] Keyingi yil Asimovning ishi boshlandi "Jamg'arma "poydevor" may oyida, "jilov va egar" iyun oyida paydo bo'ladi.^[102] Van Vogtning "Ishga qabul qilish stantsiyasi", mart oyidagi sonida, uning "Qurol do'koni" seriyasidagi birinchi hikoyasi,^[102] Jon Klyut tomonidan Van Vogtning barcha asarlari uchun eng jabbor deb ta'riflangan.^[104]

Oltin asrga oid ko'plab hikoyalar doimiy mashhurlikni namoyish etdi, ammo Piter Nikolol va Mayk Eshlining so'zlari bilan aytganda, "Oltin asr ilmiy fantastika g'ayratlari g'oyat tez-tez kambag'al pulpa lug'atiga o'ralgan edi. ommaviy bozor ".^[99] Nicholls and Ashley acknowledge that, despite the uneven literary quality of the stories, the era did produce something extraordinary: "the wild and yearning imaginations of a handful of genre writers – who were mostly very young, and conceptually very energetic indeed – laid down entire strata of science fiction motifs which enriched the field greatly",^[99] and they consider that the Golden Age generated "a quantum jump in quality, perhaps the greatest in the history of the genre".^[99]

Boom continues

Birinchi son Ilmiy fantastika har chorakda, 1940 yilda; cover art by Jack Binder

The boom in science fiction magazine publishing continued into 1940, Standard Magazines adding yet another title to Mort Weisinger's portfolio. Bu edi Kapitan kelajagi, a hero pulp with simple space opera plots in which Captain Future and his friends saved the solar system or the entire universe from a villain. Nearly all the lead novels were written by Edmond Hamilton. It appeared quarterly, the first issue dated Winter 1940.^[105] Standard's science fiction titles were unabashedly aimed at young readers, with patronizing gimmicks such as "Sergeant Saturn", who answered readers' letters in all three magazines.^[106]

Kapitan kelajagi tomonidan ta'qib qilindi Ajablanadigan hikoyalar va Super Science Stories, two new titles from Ommabop nashrlar, a well-established pulp publisher. Both magazines were bimonthly, Ajablanarli's first issue dated February 1940, and Super Science Stories appearing the following month; and both were edited by nineteen-year-old Frederik Pol —he had shown up at Popular's offices looking for editorial work just as they were considering starting a new magazine, and left as the editor of both new titles. Pohl had a very limited budget, but his contacts with other budding science fiction writers such as Kiril Kornblyut va Jeyms Blish meant he was able to find surprisingly good material. Popular paid promptly, which was more than could be said for some of the other publishers, and so despite the low rates Pohl soon began to see submissions that had been rejected by Campbell at Ajablanarli but not sent anywhere else. As a result, he occasionally printed material by some of the Ajablanarli regulars, including "Genus Homo", a collaboration between L. Sprague de Camp and P. Shuyler Miller va "Lost Legion ", by Robert A. Heinlein.^[107]

In mid-1940 Louis Silberkleit, who already had two titles on the market (Ilmiy fantastika va Kelajakdagi fantastika, both edited by Charles Hornig), added a third, titled Ilmiy fantastika har chorakda, with the intention of including a full-length novel in every issue. Silberkleit obtained reprint rights to some of the lead novels from Gernsback's Ilm-fan har chorakda hayratlanarlidir that had appeared a decade earlier. The new magazine was added to Hornig's responsibilities, but by the end of the year Hornig had moved to California and all three titles were given to Robert W. Lowndes tahrir qilmoq.^[108] Mid-1940 also saw Munsey launch Hayoliy romanlar, sherigi Mashhur hayoliy sirlar; kabi Ilmiy fantastika har chorakda it was planned as a vehicle for novel-length works, though in this case the novels were reprints from Munsey's backlog.^[97]

May 1941 issue of Cosmic Science Fiction; muqovasi Hannes Bok

In December 1940 the first issue of Kometa paydo bo'ldi. This saw the return to the field of F. Orlin Tremaine, who had been influential in the mid-1930s when he edited Ajablanarli.^[109] The publisher, H-K Publications, was owned by Harold Hersey, who had previously been involved with several failed magazines—Hayajonli kitob, Ghost Stories, Mo''jizaviy fan va fantaziya hikoyalariva Flash Gordon Strange Adventures. Tremaine had a relatively high budget for fiction compared to many of the new magazines, but this may have put Kometa under greater financial pressure, and it only survived for five issues, ceasing publication with the July 1941 issue.^[109]

Two more magazines appeared in early 1941, Aralashtiruvchi ilmiy hikoyalar va Kosmik hikoyalar, on alternating months, starting in February. These were published by a father and son operating under the name of Albing Publications; they had almost no capital, but persuaded Donald Volxaym to edit the magazine for no salary at all, with no budget for fiction. The plan was to start paying contributors once the magazine was profitable. Like Pohl, Wollheim knew several budding writers who were willing to donate stories, and managed to acquire some good fiction, including "Thirteen O'Clock" and "The City in the Sofa", by Kornbluth, which Ashley describes as "enjoyable tongue-in-cheek fantasies". In the event only six issues appeared in 1941 before Albing failed financially, though Wollheim was able to find another publisher for one more issue of Aralashtirish 1942 yil mart oyida.^[110]

The final magazine to launch during 1941 was titled Uncanny Stories, published by the Goodman brothers. Marvel ilmiy hikoyalari ceased publication in 1941, and Iloji yo'q was probably created to use up some remaining stories in its inventory. It was dated the same month as the last issue of Hayratlanaman: April 1941, and contained little worthwhile; Ashley comments that the lead story, "Coming of the Giant Germs" by Ray Cummings, was "one of his most appalling stories".^[111]

Urush yillari

Ichki rasm Edd Kartier for L. Ron Hubbard's Qo'rquv, yilda Noma'lum, 1940 yil may

In early 1940, Farnsworth Wright was replaced as editor of G'alati ertaklar tomonidan Doroti McIlwraith, who also edited Qisqa hikoyalar. McIlwraith had no particular expertise in the horror field and, although she was a competent editor, the Wright era is generally considered to have been G'alati ertaklar gullash davri.^[89][112] With Wright's departure, Noma'lum quickly became the leading magazine in its small field.^[71] Noma'lum acquired a stable of regular writers, many of whom were also appearing in Ajablanarli, and all of whom were comfortable with the rigor that Campbell demanded even of a fantasy plot. Frequent contributors included L. Ron Hubbard, Theodore Sturgeon, and L. Sprague de Camp, who, in collaboration with Fletcher Pratt, contributed three stories about a world where magic operates by logical rules.^[113] The stories were later collected as part of Pratt and de Camp's "Incompleat Enchanter" series; John Clute has commented that the title of one of them, "Sehrning matematikasi ", is "perfectly expressive of the terms under which magic found easy mention in Noma'lum".^[114] Other stories still regarded as classics include "Ular " by Heinlein, "Smoke Ghost" by Fritz Leyber, along with several stories in Leiber's Fafhrd va Kul Mouser series, and "Trouble With Water" by H.L. Oltin. Noma'lum's influence was far-reaching; according to Ashley, the magazine created the modern genre of fantasy,^[115] and science-fiction scholar Thomas Clareson suggests that by destroying the genre boundaries between science fiction and fantasy it allowed stories such as Simak's City series yozilishi kerak. Clareson also proposes that Galaxy Ilmiy Fantastika va Fantaziya va ilmiy fantastika jurnali, two of the most important and successful science-fiction and fantasy magazines, were direct descendants of Noma'lum.^[116]

In 1941 Weisinger left Standard Magazines to work on the early DC Supermen komikslar,^[117] va Oskar J. Do'stim muharriri sifatida ish boshladi Ajablanarli, Hayajonli hayratva Kapitan kelajagi;^[118] G'alati hikoyalar, which had been Weisinger's idea, was killed off with the January issue.^[119] Friend continued the juvenile focus of the three science fiction magazines, and the covers, often by Earl K. Bergey, reinforced the editorial policy: they frequently included women in implausibly revealing spacesuits or wearing Bergey's trademark "brass brassières".^[120] Kapitan kelajagi ceased publication in early 1944,^[121] and later that year Friend was replaced as editor by Sem Mervin ikkalasida ham Ajablanarli va Hayajonli.^[122] Sayyora voqealari' first few issues contained little notable fiction, but it improved throughout the war.^[98] Ley Braket was a regular contributor of sayyora romantikalari —melodramatic tales of action and adventure on alien planets and in interplanetary space—and her work had a strong influence on other writers, including Marion Zimmer Bredli. Other well-known writers who sold to Sayyora included Simak, Blish, Fredrik Braun, and Asimov.^[123]

June 1943 issue of Ajablanadigan hikoyalar; cover by Earle K. Bergey, showing his trademark "brass bra"

At Ziff-Davis, Palmer remained editor of both Fantastik sarguzashtlar va Ajoyib hikoyalar Ikkinchi Jahon urushi davomida. Much of the material in both magazines came from a group of Chicago-based writers who published under both their own names and various house pseudonyms; among the most prolific were Uilyam P. McGivern, Devid Rayt O'Brayen, Don Wilcox va Chester S. Geier.^[124][125] The fiction was rarely noteworthy; Ashley describes the wartime Fantastik sarguzashtlar as "concentrat[ing] more on quantity than quality, on brash sensationalism than subtlety",^[125] though he also comments that it was the most attractive science-fiction or fantasy magazine on newsstands at the time, with covers by J. Allen Sent-Jon, Xarold Makkuli va Robert Gibson Smith.^[125] Similarly, the fiction in Ajoyib was of uneven quality, though occasionally Palmer obtained good material, including stories by Rey Bredberi, Erik Frank Rassel, and John Wyndham.^[126]

Few of the new magazines launched during the boom lasted until the end of the war, which brought paper shortages that forced difficult decisions on the publishers.^[127] Not every magazine cancellation was because of the war; the usual vicissitudes of magazine publishing also played a role. In 1941, Silberkleit cancelled Ilmiy fantastika after 12 issues because of poor sales, merging it with Kelajakdagi fantastika.^[128] Two years later Silberkleit ceased publication of both Kelajak va Ilmiy fantastika har chorakda when he decided to use the limited paper he could acquire for his western and detective titles instead.^[121][129] Ikkalasi ham Ilmiy fantastika va Kelajak eventually reappeared in the 1950s.^[129][130] Hayoliy romanlar merged with its stablemate, Mashhur hayoliy sirlar, in 1941, probably because of wartime difficulties, after only five issues.^[131] 1942 yilda Mashhur hayoliy sirlar was sold by Munsey to Popular, who were already the publishers of Ajablanadigan hikoyalar va Super Science Stories. Mary Gnaedinger continued as editor, but the editorial policy changed to exclude reprints of stories that had appeared in magazine form. Booklength work was still reprinted, including G. K. Chesterton "s Payshanba bo'lgan odam va H. G. Uells ' Doktor Moroning oroli.^[132] Tadbirda, Mashhur hayoliy sirlar was the only one of Popular's science-fiction and fantasy titles to survive the war. Ikkalasi ham Ajablanarli va Super Science Stories ceased publication in 1943 when Frederik Pohl, the editor of both titles, enlisted in the army; the publisher was having difficulty obtaining enough paper and decided to close the magazines down.^[133][134] The same year, paper shortages forced John Campbell to choose between Ajablanarli va Noma'lum, which had already gone to a bimonthly schedule; he decided to keep Ajablanarli on a monthly schedule, and Noma'lum ceased publication with the October 1943 issue.^[135] Ajablanarli switched to digest format the following month; this was a leading indicator for the direction the field would take, though it would be over a decade before the rest of the field followed suit.^[136]

Urushdan keyingi urush

Ichki rasm Alexander Leydenfrost for Ray Bradbury's "The Million Year Picnic", in Sayyora voqealari, Summer 1946

Asimov said that "The dropping of the atom bomb in 1945 made science fiction respectable" to the general public.^[137] Mainstream magazines began publishing science fiction after the war. Heinlein amazed fans and fellow writers when, Asimov recalled in 1969, "an undiluted science fiction story of his "paydo bo'ldi Shanba kuni kechki xabar.^[138]

Only eight US science-fiction or fantasy magazines survived the war: Ajablanadigan ilmiy fantastika, published by Street & Smith; G'alati ertaklar, from Delaney's Short Stories, Inc.; Standard Magazines' Ajablanadigan hikoyalar va Hayajonli hayrat hikoyalari; Ziff-Davis's Ajoyib hikoyalar va Fantastik sarguzashtlar; Popular's Mashhur hayoliy sirlar; va Sayyora voqealari, published by Love Romances, Inc.^[139] All had been forced to quarterly schedules by the war, except G'alati ertaklar, which was bimonthly, and Astounding,^[121] still the leading science fiction magazine.^[140] Small science-fiction magazines often lost experienced authors to mass-market publications like Playboy so did not benefit, Asimov said, "from the field's new-won respectability".^[138]

Campbell continued to find new writers: Uilyam Tenn, H. Beam Piper, Artur C. Klark va Jon Kristofer all made their first sales to Ajablanarli in the late 1940s, and he published many stories now regarded as classics, including "Amp mavsumi " by C.L. Moore, "Katlangan qo'llar bilan ..." by Jack Williamson, Ob'ektiv farzandlari by E.E. Smith, and Null-A o'yinchilari by A.E. van Vogt. The pace of invention which had marked the war years for Ajablanarli was now slackening, however, and in Ashley's words the magazine was now "resting on its laurels".^[141] In 1950, Campbell published an article on dianetics by L. Ron Hubbard; this was a psychological theory that would eventually evolve into Sayentologiya, a new religion. Dianetics was denounced as pseudoscience by the medical profession, but to the dismay of many of Ajablanarli's readers it was not until 1951 that Campbell disavowed it.^[142]

Sam Merwin, who had taken over from Oscar Friend at Standard Magazines towards the end of the war,^[122] abandoned the juvenile approach that had characterized both Ajablanarli va Hayajonli; he asked Bergey to make his covers more realistic, and started to publish more qattiq ilmiy fantastika, including work by Murray Leinster, Jorj O. Smit, and Hubbard. U sotib oldi Jek Vens 's first sale, "The World Thinker", which appeared in 1945, and published a good deal of material by Ray Bradbury, including several of his Martian Chronicle hikoyalar. Some of the highest-profile names from Campbell's stable of Ajablanarli writers sold to Merwin, including van Vogt, Heinlein, and Sturgeon, whose "The Sky Was Full of Ships" appeared in 1947 and was much praised by readers. Other notable stories include Fredric Brown's Qanday aqldan ozgan koinot, which appeared in 1948, and Kuttner's Olov vodiysi, bir nechta ilmiy-fantaziya novels he published in Ajablanarli. Kabi yozuvchilar John D. MacDonald, Margaret St. Clair, William Tenn, Arthur C. Clarke, James Blish, and Deymon ritsar all sold to Merwin, and the net effect was a dramatic improvement in the quality of both magazines, to the point where Ashley suggests that by the late 1940s, Hayajonli hayrat, in particular, was a serious challenger to Ajablanarli for the leadership of the field.^[143]

Sayyora voqealari also improved dramatically by the end of the decade. Several well-known writers, including Blish, Brown, and Knight, published good material in Sayyora, but the overall improvement was largely due to the contributions of Bradbury and Leigh Brackett, both of whom set many of their stories on a version of Mars that owed much to the Barsoom of Edgar Rice Burroughs. Brackett, one of Sayyora's most prolific contributors, developed her style over the 1940s and eventually became the leading exponent of planetary romances. Her series of stories about Eric John Stark, considered by Ashley to be her best work, began in Sayyora with "Queen of the Martian Catacombs" in the Summer 1949 issue. Bradbury's work for Sayyora included two of his Martian Chronicles stories, and a collaboration with Brackett, "Lorelei of the Red Mist", which appeared in 1946.^[123] Tim Forest, a historian of the pulps, considers Bradbury's work to be Sayyora's "most important contribution to the genre".^[144] The covers were generally simple action scenes, featuring a helpless damsel threatened by a bug-eyed monster,^[145] but according to Clute "the content was far more sophisticated than the covers".^[146]

January 1948 issue of Fantastik sarguzashtlar; san'at tomonidan Robert Gibson Jons

G'alati ertaklar had lost much of its unique flavor with the departure of Farnsworth Wright, but in Ashley's view McIlwraith made the magazine more consistent: "though the issues edited by McIlwraith "seldom attain[ed] Wright's highpoints, they also omitted the lows".^[147] McIlwraith continued to publish some of G'alati ertaklar most popular authors, such as Fredric Brown and Fritz Leiber,^[147] but eliminated qilich va sehr fiction, which Robert E. Howard had popularized under Wright with his stories of Konan, Sulaymon Keyn va Kepak Mak Morn.^[70][148] August Derleth, who had corresponded with Lovecraft until the latter's death in 1937,^[149] continued to send Lovecraft manuscripts to McIlwraith during the 1940s,^[150] and at the end of the decade decided to issue a magazine to publicize Arkham uyi, a publishing venture he had begun in 1939 that reprinted largely from the pages of G'alati ertaklar.^[151][152] Sarlavha edi Arkham Sampler; Derleth intended it to be a more literary magazine than the current crop of science fiction and fantasy pulps. It published both new and reprint material. Some of the stories were of good quality, including work by Robert Bloch and Lord Dunsani, but it closed down after eight quarterly issues for financial reasons.^[151]

At Ziff-Davis, Fantastik sarguzashtlar continued as it had during the war, with an occasional noteworthy story such as "Largo", by Theodore Sturgeon, and "I'll Dream of You" by Charlz F. Mayers.^[153] Ikkalasi ham Fantastik sarguzashtlar va uning singlisi jurnali, Ajoyib hikoyalar, were able to return to monthly publication by late 1947 because of the "Shaver Mystery", a series of stories by Richard Shaver.^[154] In the March 1945 issue of Ajoyib Palmer published a story by Shaver called "I Remember Lemuria". The story, about prehistoric civilizations, was presented by Palmer as a mixture of truth and fiction, and the result was a dramatic boost to Amazing's circulation.^{[5-eslatma][156]} Palmer ran a new Shaver story in every issue, culminating in a special issue in June 1947 devoted entirely to the Shaver Mystery.^[156] Ajoyib soon drew ridicule for these stories and William Ziff ordered Palmer to limit the amount of Shaver-related material in the magazine; Palmer complied, but his interest (and possibly belief) in this sort of material was now significant, and he soon began planning to leave Ziff-Davis. In 1947 he formed Clark Publications, launching Taqdir the following year, and in 1949 he resigned from Ziff-Davis to edit that and other magazines.^[157]

1948 yil mart oyida, Hayoliy romanlar reappeared; it had been published by Munsey as a reprint companion to Mashhur hayoliy sirlar, now owned by Popular, and it took on the same role in its new incarnation. Gnaedinger, the editor, was a fan of Abraham Merritt's work, and the first three issues of the new version included stories by Merritt.^[158] Reprints of old classics such as Jorj Allan Angliya "s The Flying Legion va Garret P. Serviss "s Ikkinchi to'fon constituted most of Hayoliy romanlar' contents, with some more recent material such as Erning so'nggi qo'rg'oni, by Kuttner and Moore, which had only previously appeared as a serial in Argosy 1943 yilda.^[158][159]

Beginning of the digest era

Birinchi son Xayol, dated October 1950; cover art by Hannes Bok

Street & Smith, one of the longest established and most respected magazine publishers, shut down all their pulps in the summer of 1949. The pulps were dying, largely as a result of the success of cho'ntak, and Street & Smith decided to concentrate on their silliq jurnallar. The only survivor of Street & Smith's pulp titles was the digest-format Ajablanadigan ilmiy fantastika.^[160] By the end of 1955, Fantastik sarguzashtlar, Mashhur hayoliy sirlar, Hayajonli hayrat, Ajablanadigan hikoyalar, Sayyora voqealari, G'alati ertaklarva Har chorakda hayoliy hikoya had all ceased publication. Despite the pulps' decline, a few new magazines did appear in pulp format at the end of the 1940s, though these were all short-lived, and several of them focused on reprints rather than new material.^[161]

One of the first new post-war titles was Fantaziya kitobi, which appeared in 1947. It was the work of William Crawford, a specialty publisher, and varied between pulp and digest sizes. Crawford ran into problems with distribution and production, and the magazine was never regular, but he produced eight issues over the next four years that included some worthwhile material, most notably Cordwainer Smit 's first story, "Skanerlar Vain-da yashaydilar ", in the January 1950 issue.^[162]

Popular had added Hayoliy romanlar hamrohi sifatida Mashhur hayoliy sirlar 1948 yilda; the following year it launched A. Merrittning "Fantaziya" jurnali, in an attempt to cash in on Merritt's popularity, and Kapitan nol, a science-fictional hero pulp. Both were failures, lasting only five and three issues, respectively. Standart Ajablanadigan hikoyalar va Hayajonli hayrat, both well-regarded by the end of the decade, were joined in 1950 by two reprint magazines. Bittasi edi Har chorakda hayoliy hikoya, which was intended to carry reprints that were too long to run in Ajablanarli's "Hall of Fame" department. This was initially a financial success, and Standard decided to add another title, Wonder Story yillik. Both titles survived into the mid-1950s.^[161] Two exceptions to the reprint rule were Kelajakdagi ilmiy fantastika, which Silberkleit brought back as a bimonthly pulp in May 1950, still edited by Lowndes,^[129] va Ushbu dunyodagi sarguzashtlardan tashqarida, also in pulp format, which combined science-fiction material with a few pages of comics. Noshir, Avon, also launched a romance magazine and a western magazine with the same format, but the experiment was a failure and Ushbu dunyodagi sarguzashtlardan tashqarida only lasted for two issues, dated July and December 1950.^[161] At the end of 1950 Marvel ilmiy hikoyalari reappeared as the Goodman brothers saw a new boom in science fiction magazines getting under way; it began as a pulp, but changed to a digest the following year. The fiction was of higher quality than in the first incarnation of the magazine, but it lasted less than two years.^[163][164]

December 1950 issue of Ushbu dunyodagi sarguzashtlardan tashqarida; muqovasi Jeyms Bama

Garchi Ajablanarli had been in digest format since 1943, few new digest magazines had been launched since then. One of the first into the fray was Boshqa olamlar, Raymond Palmer's first new science fiction magazine since he had left Ziff-Davis. It appeared in November 1949, and was bimonthly for the first year. Palmer acquired stories by Ray Bradbury, A.E. van Vogt, and Reymond F. Jons, but the overall quality was not high; Ashley characterizes the magazine as "good, but not quite good enough".^[165] Xovard Braun took over from Palmer as editor of Ajoyib va Fantastik sarguzashtlar, and made strides in improving the quality of both magazines, though much of his impact only became visible after 1950.^[166]

1949 yil dekabrda, Lourens Spivak, muharriri Ellery Queen's Mystery jurnali, launched Fantaziya jurnali as a fantasy companion, in digest format. Tahrirlovchilar edi Entoni Boucher, a well-regarded mystery writer who wrote some science fiction, and J. Frensis Makkomas. U qayta nomlangan Fantaziya va ilmiy fantastika jurnali with the following issue, and four more quarterly issues appeared in 1950. The contents were of the same standard as the fiction that appeared in slick magazines of the day, and it was soon successful.^[167] In October 1950 the first issue of Galaxy Ilmiy Fantastika appeared, edited by H.L. Gold, also in digest format;^[168] it too did well, and in the 1950s both magazines became very highly regarded, supplanting Ajablanarli as the leading science-fiction magazines.^[169]

Three more magazines began publication in 1950, all in digest format. Birinchisi Fantastik fantastika, which produced two issues. It included some respectable reprinted material from 1930s issues of Argosy, but none of the new stories were memorable.^[170] In October 1950, Raymond Palmer, who had left Ziff-Davis to become a publisher in his own right, launched Xayol. A serious accident in the summer forced him to turn most of the editing work over to Bea Mahaffi, and after two issues he sold the magazine to Uilyam Xemling, who kept it going until 1958.^[171] The final magazine of the decade was Chet elliklar, edited by Damon Knight, which appeared in December 1950, and lasted for three monthly issues; the publisher, Hillman Periodicals, decided to scrap the magazine only days after the first issue went on sale. All three issues featured quality work, and many of the stories have been reprinted frequently; Willam Tenn's "Null-P" and C.M. Kornbluth's "The Mindworm" being perhaps the best-known.^[172] Knight included material by non-genre writers such as Grem Grin va Rudyard Kipling, along with genre names such as Ketrin Maklin and Lester del Rey.^[173] Ashley suggests that had Knight been allowed to continue, the magazine would have been a significant contribution to 1950s science fiction.^[174]

Ikki kun, Simon va Shuster, and other large, mainstream companies began publishing science-fiction books around 1950. They issued tuzatishlar and collections of magazine fiction, but also original stories; authors no longer only had magazines as buyers.^[175]

Jurnallar ro'yxati

This table provides the following information:^[176]

• Sarlavha. The title that the magazine is usually indexed under. Many magazines changed their title multiple times.
• First and last issue. The year of the first and last issues. If the magazine is still being published, the last issue field is blank.
• Nashriyotchi. The name of the publisher(s). Some publishers used multiple imprints; to make it easier to see which magazines were controlled by which individuals or groups, the main person or company behind each publisher is noted where it is not obvious.
• # issues. The number of issues through the end of 1950. If the magazine continued to publish after 1950, the notes column gives the total number of issues.
• New or reprint? Indicates whether the magazine was primarily intended to print new fiction, or reprints. In some cases a magazine printed both, or the focus changed over time; in these cases the table lists whichever was dominant.
• Izohlar. Among other things, this column notes if a magazine was published in two separate runs.

Izohlar

Tashqi havolalar

• Howard and Jane Frank Collection of Science Fiction Pulp Magazines da Merilend universiteti kutubxonalari
• Early Science Fiction Pulp Magazines: Resources in Special Collections da Michigan shtati universiteti kutubxonalari
• The Pulp Magazines Project

Adabiyotlar

Iqtiboslar

Manbalar