G'alati ertaklar - Weird Tales

1942 yil mart sonining muqovasi, tomonidan Hannes Bok^[1]

G'alati ertaklar amerikalik xayol va dahshatli fantastika pulpa jurnali 1922 yil oxirida J. C. Henneberger va J. M. Lansinger tomonidan asos solingan. 1923 yil mart oyining birinchi soni 18 fevral gazetalar do'konlarida paydo bo'ldi.^[2] Birinchi muharrir, Edvin Baird, tomonidan chop etilgan dastlabki ish H. P. Lovecraft, Seabury Quinn va Klark Eshton Smit, ularning barchasi mashhur yozuvchilardan bo'lib ketishadi, ammo bir yil ichida jurnal moliyaviy muammolarga duch keldi. Henneberger nashriyotga bo'lgan qiziqishini, Qishloq nashriyot korporatsiyasini Lansingerga sotdi va qayta moliyalashtirdi G'alati ertaklar, bilan Farnsvort Rayt yangi muharriri sifatida. Rayt nazorati ostidagi birinchi son 1924 yil noyabrda nashr etilgan. Jurnal Rayt davrida ancha muvaffaqiyatga erishgan va vaqti-vaqti bilan moliyaviy ahvolga tushib qolganiga qaramay, keyingi o'n besh yil ichida u gullab-yashnagan. Rayt nazorati ostida jurnal o'zining "Noyob jurnal" nomli subtitriga mos keldi va juda ko'p g'ayrioddiy fantastika nashr etdi.

Lovecraft Cthulhu afsonalari hikoyalar birinchi bo'lib paydo bo'ldi G'alati ertaklar"bilan boshlanganKtulxuning chaqirig'i "1928 yilda. Bular yaxshi kutib olindi va Lovecraft bilan bog'liq bo'lgan bir guruh yozuvchilar o'sha muhitda boshqa hikoyalarni yozdilar. Robert E. Xovard doimiy yordamchisi bo'lgan va uning bir nechtasini nashr etgan Konan barbar jurnaldagi hikoyalar va Seabury Quinnning bir qator hikoyalari Jyul de Grandin, g'ayritabiiy ishlarga ixtisoslashgan detektiv, o'quvchilarga juda yoqdi. Boshqa yaxshi ko'rilgan mualliflar shu jumladan Nictzin Dyalhis, E. Hoffmann narxi, Robert Bloch va H. Warner Munn. Rayt ba'zi nashr etdi ilmiy fantastika, hayoliy va dahshat bilan birga, qisman qachon bo'lgani uchun G'alati ertaklar ilmiy fantastika bo'yicha ixtisoslashgan jurnallar bo'lmagan, ammo u bu kabi jurnallar chiqqandan keyin ham ushbu siyosatni davom ettirgan Ajoyib hikoyalar 1926 yilda. Edmond Xemilton uchun juda yaxshi ilmiy fantastika yozdi G'alati ertaklarGarchi bir necha yildan so'ng u jurnalni o'zining hayoliy hikoyalari uchun ishlatgan bo'lsa va uni taqdim etgan bo'lsa kosmik operalar boshqa joyda.

1938 yilda jurnal noshiri Uilyam Delaniga sotildi Qisqa hikoyalar va ikki yil ichida kasal bo'lgan Rayt o'rnini egalladi Doroti McIlwraith muharriri sifatida. Kabi ba'zi muvaffaqiyatli yangi mualliflar va rassomlar bo'lsa ham Rey Bredberi va Hannes Bok, paydo bo'lishni davom ettirdi, jurnal tanqidchilar tomonidan 30-yillarda gullab-yashnagan paytdan boshlab McIlwraith davrida pasaygan deb hisoblanadi. G'alati ertaklar 1954 yilda nashr etishni to'xtatdi, ammo o'sha vaqtdan beri 1973 yildan boshlab jurnalni qayta tiklashga ko'p urinishlar qilingan. Eng uzoq muddatli versiyasi 1988 yilda boshlangan va noshirlarning assortimenti ostida 20 yildan ortiq vaqt davomida tanaffus bilan ishlagan. 1990-yillarning o'rtalarida sarlavha o'zgartirildi Fantaziya va dahshat olamlari litsenziyalash muammolari sababli, asl nomi 1998 yilda qaytarilgan.

Jurnal fantaziya va ilmiy fantastika tarixchilari tomonidan ushbu sohadagi afsona sifatida baholanadi Robert Vaynberg, jurnal tarixining muallifi, uni "barcha xayoliy jurnallarning eng muhim va ta'sirchanlari" deb hisoblaydi.^[3] Vaynbergning hamkasbi tarixchi, Mayk Eshli, yanada ehtiyotkor bo'lib, uni "ikkinchi o'rinda" deb ta'riflagan Noma'lum ahamiyati va ta'sirida ",^[4] "Qo'shma Shtatlarning (va AQShga tegishli bo'lmagan) janr-fantaziya va dahshat mualliflarining xayoliy suv omborlarida biron bir joyda ruhning bir qismidir" G'alati ertaklar".^[5]

Fon

Jeykob Klark Xenneberger, 1913 yil

19-asrning oxirida, mashhur jurnallar, odatda, boshqa tarkibni istisno qilgan holda badiiy adabiyotlarni chop 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 dekabrida u arzon yog'och-pulpa qog'ozidan foydalanishga o'tdi. Bu endi jurnal tarixchilari tomonidan boshlangan deb hisoblanadi pulpa jurnali davr. Ko'p yillar davomida pulpa jurnallari o'zlarining badiiy tarkiblarini biron bir maxsus janr bilan cheklamasdan muvaffaqiyatli ishladilar, ammo 1906 yilda Munsey chiqdi Temir yo'l odamlari jurnali, ma'lum bir maydonga qaratilgan birinchi sarlavha. 1915 yildan boshlab, ayniqsa, badiiy janrlarga ixtisoslashgan boshqa nomlar "Detektiv hikoya" jurnali, bilan Western Story jurnali keyingi 1919 yilda.^[6] G'alati fantastika, ilmiy fantastika va xayol barchasi kunning pulpalarida tez-tez paydo bo'lgan, ammo 1920-yillarning boshlarida ushbu janrlarning birortasiga bag'ishlangan bironta ham jurnal yo'q edi. Hayajonli kitob tomonidan 1919 yilda boshlangan Street & Smith "boshqacha" yoki g'ayrioddiy hikoyalarni chop etish niyatida deyarli sog'inib qolgan edim.^[6][7]

1922 yilda J. C. Henneberger, nashriyoti Kollej hazillari va O'yin-kulgi jurnali, o'zining sobiq birodarlik akasi J. M. Lansinger bilan hamkorlikda Chikagodagi "Rural Publishing Corporation" ni tashkil etdi.^[8] Ularning birinchi tashabbusi bu edi Detektiv ertaklar, 1922 yil 1 oktyabr sonidan boshlab oyiga ikki marta chiqqan pulpa jurnali. Dastlab bu muvaffaqiyatsiz tugadi va qayta moliyalashtirish rejasi doirasida Henneberger o'zining ba'zi xarajatlarini ikkala unvonga bo'lishiga imkon beradigan boshqa jurnalni chiqarishga qaror qildi. Henneberger uzoq vaqtdan beri muxlis bo'lgan Edgar Allan Po, shuning uchun u dahshat haqida o'ylaydigan badiiy jurnal yaratdi va unga sarlavha qo'ydi G'alati ertaklar.^[9][10]

Nashr tarixi

Qishloq nashriyot korporatsiyasi

Henneberger tanladi Edvin Baird, muharriri Detektiv ertaklar, tahrirlash uchun G'alati ertaklar; Farnsvort Rayt edi birinchi o'quvchi va Otis Adelbert Klayn jurnalda ham ishlagan, Berdga yordam bergan. To'lov stavkalari past edi, odatda har bir so'z uchun chorak yarim foiz; byudjet eng mashhur yozuvchilar uchun har bir so'z uchun bir foizgacha ko'tarildi.^[10] Sotish dastlab yomon edi va tez orada Henneberger standart pulpa o'lchamidan formatni o'zgartirishga qaror qildi katta pulpa, jurnalni yanada ko'rinadigan qilish uchun. Bu 1923 yil may oyida chiqarilgan yangi hajmdagi birinchi nashrning birinchi yili to'liq sotilgan yagona bo'lgan bo'lsa-da, bu sotuvga uzoq muddatli ta'sir ko'rsatmadi - ehtimol u mashhur serialning birinchi qismini o'z ichiga olganligi sababli, Oy dahshati, A.G.Berch tomonidan.^[12][13]

Berdning muharrirligi ostida jurnal katta miqdordagi pulni yo'qotdi: o'n uchta nashrdan so'ng qarzning umumiy miqdori 40 ming dollardan oshdi.^[14][1-qayd] Shu vaqitning o'zida, Detektiv ertaklar qayta nomlangan edi Haqiqiy detektiv ertaklar va bo'lgani kabi foyda keltirar edi Kollej hazillari. Henneberger ikkala jurnalni ham Lansingerga sotishga va pulni unga sarmoya kiritishga qaror qildi G'alati ertaklar.^[12][16] Bu jurnalning printeriga tegishli bo'lgan 40 ming dollarlik qarzlarni hal qilmadi. Poligrafiya kompaniyasi B. Korneliusga tegishli edi, u Hennebergerning qarzni yangi "Popular Fiction Publishing" kompaniyasining aksariyat ulushiga o'tkazish to'g'risida taklifiga rozi bo'ldi. Bu jurnalning barcha qarzlarini bekor qilmadi, ammo bu shuni anglatardi G'alati ertaklar nashr etishni davom ettirishi va ehtimol rentabellikka qaytishi mumkin. Kornelius, agar jurnal unga qarzdor bo'lgan 40 ming dollarni qaytarib beradigan darajada daromad keltiradigan bo'lsa, u kompaniyadagi aktsiyalaridan voz kechishiga rozi bo'ldi. Kornelius kompaniya xazinachisi bo'ldi; biznes menejeri Uilyam (Bill) Sprenger edi, u qishloq nashriyotida ishlagan. Xenneberger oxir-oqibat Robert Eastmanga tegishli bo'lgan boshqa printer - Hall Printing Company yordamida qarzni qayta moliyalashtirish umidida edi.^[12]

Baird Lansingerda qoldi, shuning uchun Henneberger xat yozdi H. P. Lovecraft, kimga ba'zi hikoyalarni sotgan G'alati ertaklar, u ishni qabul qilishdan manfaatdorligini bilish uchun. Henneberger o'n haftalik avansni taklif qildi, ammo Lovecraft jurnalning bosh ofisi joylashgan Chikagoga ko'chib o'tishini shart qildi. Lovecraft Hennebergerning rejalarini maktubida tasvirlab berdi Frank Belknap Long "Po-Machen titroqlari maydonini yoritadigan yangi jurnal" sifatida. Lovecraft yaqinda yangi kelini bilan ko'chib o'tgan Nyu-Yorkdan ketishni istamadi; uning sovuq ob-havoni yoqtirmasligi yana bir to'siq bo'ldi.^{[12][17][18][2-qayd]} U bir necha oyni 1924 yil o'rtalarida yakuniy qaror qabul qilmasdan ko'rib chiqdi, Xenneberger unga Bruklindagi bir necha bor tashrif buyurdi, ammo oxir-oqibat u rad etdi yoki Xenneberger shunchaki voz kechdi. Yil oxiriga kelib Rayt yangi tahrirlovchiga ishga qabul qilindi G'alati ertaklar. Baird nomi ostida o'tgan son 192-betdan iborat may / iyun-iyul oylarining birlashtirilgan soni edi - bu avvalgi sonlariga qaraganda ancha qalin jurnal. Uni Berd emas, balki Rayt va Klayn yig'ishgan.^[12]

Mashhur badiiy nashr

1934 yil may oyining muqovasi, tasvirlangan Qora qirg'oq malikasi, bittasi Robert E. Xovard "s Konan barbar hikoyalar^[20]

Henneberger Raytga to'liq boshqaruvni berdi G'alati ertaklarva hikoyani tanlash bilan shug'ullanmadi. Taxminan 1921 yilda Rayt azob chekishni boshlagan Parkinson kasalligi va uning tahririyati davomida alomatlar asta-sekin kuchayib bordi. 1920-yillarning oxiriga kelib u o'z ismini imzolay olmadi va 1930-yillarning oxirlarida Bill Sprenger unga ishlashga va uyiga qaytishda yordam berdi.^[12] Rayt bilan muharrir sifatida birinchi nashr 1924 yil noyabrda bo'lib o'tdi va jurnal darhol muntazam ravishda oylik jadvalini tikladi va format yana pulpaga qaytdi.^[11] Ish haqi stavkasi dastlab past bo'lgan, 1926 yilgacha har bir so'z uchun yarim foizdan yuqori bo'lgan, o'sha paytda eng yuqori stavka bir sentga ko'tarilgan. Populyar Fiction Publishing-ning ba'zi qarzlari vaqt o'tishi bilan qoplandi va eng yuqori ish haqi har bir so'z uchun bir yarim sentga ko'tarildi.^[3-qayd] Jurnalning muqovasi o'sha vaqt uchun yuqori edi. Robert Bloch "bu asrning yigirmanchi va o'ttizinchi yillari oxirlarida ... pulpa davriy nashrlarining aksariyati bir tiyinga sotilgan paytda, uning narxi chorakni tashkil etganini" esladi.^[23] Populyar badiiy nashriyot Chikagoda joylashgan bo'lsada, tahririyatlar bir muncha vaqt Indianapolisda, ikkita alohida manzilda bo'lishgan, ammo 1926 yil oxiriga kelib Chikagoga ko'chib o'tishgan. Qisqa vaqtdan so'ng Shimoliy Broadway, ofis 840 ga ko'chirildi Shimoliy Michigan Avenue, u erda 1938 yilgacha saqlanib qoladi.^[24]

1927 yilda Populyar Fantastika nashriyoti Birch's jurnalini chiqardi Oy dahshati, bittasi G'alati ertaklar' jurnalning birinchi yilidagi yana uchta hikoyani o'z ichiga olgan, muqovali kitob sifatida ko'proq mashhur seriallar. Hikoyalardan biri "To'rtinchi o'lchovdagi sarguzasht" Raytning o'zi edi. Kitob juda kam sotildi va u sahifalar sahifalarida taqdim etildi G'alati ertaklar, arzonlashtirilgan narxlarda, yigirma yil davomida.^[24][25] Bu bir vaqtning o'zida obuna bo'lgan o'quvchilarga bonus sifatida taqdim etilgan.^[26] 1930 yilda Kornelius sheriklar jurnalini chiqardi, Sharq hikoyalari, ammo jurnal muvaffaqiyatga erishmadi, garchi u Korniliyning taslim bo'lishidan oldin uch yildan ko'proq vaqt ishlashga muvaffaq bo'ldi.^[24][27] Yana bir moliyaviy zarba 1930 yil oxirida, bankning ishdan chiqishi jurnalning aksariyat pullarini muzlatib qo'yishi bilan yuz berdi. Xenneberger jadvalni 1931 yil fevral / mart oylari sonidan boshlab ikki oyga o'zgartirdi; olti oy o'tgach, 1931 yil avgustdagi son bilan oylik jadval qaytdi.^[28] Ikki yildan keyin G'alati ertaklarbank hali ham moliyaviy muammolarga duch kelayotgan edi va mualliflarga to'lash deyarli kechiktirildi.^[29]

The Depressiya shuningdek, Xenneberger Korneliydan qarzni o'z zimmasiga olishiga umid qilgan Hall Printing Company-ni urdi; Xollning egasi Robert Eastman bir vaqtning o'zida ish haqini qondira olmadi. Istmen 1934 yilda vafot etdi va u bilan birga Hennebergerning boshqaruvni tiklash rejalari amalga oshirildi G'alati ertaklar.^[24] Jurnal dastlabki ilmiy-fantastik pulpalarda reklama berib, odatda ko'proq ilmiy-fantastik hikoyalardan birini ta'kidlab o'tdi. Ko'pincha reklama qilingan hikoya Edmond Xemilton, kim sf jurnallarida mashhur bo'lgan. Rayt shuningdek, Kline singari eng mashhur mualliflarining ba'zi kitoblarini sotdi G'alati ertaklar.^[30] Jurnal hech qachon katta foyda keltirmagan bo'lsa-da, Rayt yaxshi maosh olgan. Robert Vaynberg, tarix muallifi G'alati ertaklar, Raytning jurnaldagi ko'p ishi uchun to'lanmaganligi haqidagi mish-mishlarni yozadi, ammo shunga ko'ra E. Hoffmann narxi Raytning vaqti-vaqti bilan unga qo'lyozmalar o'qigan yaqin do'sti, G'alati ertaklar 1927 yilda Raytga oyiga taxminan 600 dollar to'lagan.^[24]

Delaney

1938 yilda Kornelius nafaqaga chiqqan va Populyar Fiction Publishing nashri bo'lgan Uilyam J. Delaneyga sotilgan. Qisqa hikoyalar, Nyu-Yorkda joylashgan muvaffaqiyatli umumiy fantastika pulpasi jurnali. Sprenger va Rayt ikkalasi ham Korneliydan aktsiyalar ulushini olishdi; Sprenger kompaniyada qolmadi, lekin Rayt Nyu-Yorkka ko'chib o'tdi va muharrir sifatida qoldi.^[28][30] Hennebergerning Populyar Fiction Publishing-dagi ulushi Delaney's Short Stories, Inc kompaniyasining sho'ba korxonasi bo'lgan Weird Tales, Inc yangi kompaniyasida kichik qiziqishga aylantirildi.^[11][30] Doroti McIlwraith, muharriri Qisqa hikoyalar, Raytning yordamchisiga aylandi va keyingi ikki yil ichida Delaney sahifalar soni va narxini o'zgartirib, daromadni oshirishga harakat qildi. 1939 yil fevral oyidan boshlab 144 sahifadan 160 sahifaga o'sish, arzonroq (va shu sababli qalinroq) qog'ozlardan foydalanish jurnalni qalinlashtirdi, ammo bu sotuvni ko'paytirmadi. 1939 yil sentyabr oyida sahifalar soni 128 taga kamaydi va narx 25 sentdan 15 tsentgacha qisqartirildi. 1940 yil yanvaridan boshlab chastota ikki oyga qisqartirildi, bu o'zgarish o'n to'rt yil o'tgach, jurnal nashr etilguniga qadar amal qildi.^[28][30] Ushbu o'zgarishlarning hech biri kutilgan natijani bermadi va sotish sustlashishda davom etdi.^[30] 1940 yil mart oyida Rayt tark etdi va uning o'rniga McIlwraith muharriri sifatida tayinlandi; Jurnalning tarixi, u savdosi yomonligi sababli ishdan bo'shatilganmi yoki sog'lig'i sababli ishdan bo'shatilganmi, boshqacha aytganda - u Parkinson kasalligidan shu qadar qattiq azob chekadiki, u yordamsiz yurishda qiynalgan.^{[28][30][32][33][4-qayd]} O'shanda Rayt azob chekish uchun operatsiyani boshdan kechirgan, ammo to'liq tiklanmagan. U o'sha yilning iyun oyida vafot etdi.^[12]

McIlwraithning birinchi soni 1940 yil aprelda chiqqan. 1945 yildan^[34] 1949 yilgacha,^[35] unga ikkalasining ham muharriri va badiiy muharriri sifatida ishlagan Lamont Buchanan yordam berdi G'alati ertaklar va Qisqa hikoyalar. Avgust Derlet shuningdek, jurnal bilan rasmiy aloqasi bo'lmaganiga qaramay, yordam va maslahat berdi. McIlwraith byudjetining katta qismi sarflandi Qisqa hikoyalar, chunki bu yanada muvaffaqiyatli jurnal edi;^[30][33] yilda badiiy adabiyot uchun to'lov stavkasi G'alati ertaklar 1953 yilga kelib, so'zlar uchun bir foiz, bu kunning boshqa ilmiy-fantastik va fantastik jurnallarining eng yuqori ko'rsatkichlaridan ancha past edi.^[36] Urush etishmovchiligi ham muammolarni keltirib chiqardi va sahifalar soni qisqartirildi, avval 1943 yilda 112 betga, keyin esa keyingi yilda 96 betga etdi.^[30][33]

1947 yilda narx 20 sentga, 1949 yilda yana 25 sentga ko'tarildi, lekin bu nafaqat edi G'alati ertaklar Bu azob chekayotgan edi - butun pulpa sanoati tanazzulga uchragan edi. Delaney formatni o'zgartirdi hazm qilish 1953 yil sentyabrdagi son bilan, ammo hech qanday muhlat yo'q edi. 1954 yilda, G'alati ertaklar va Qisqa hikoyalar nashrni to'xtatdi; ikkala holatda ham oxirgi son 1954 yil sentyabrda chiqarilgan.^[30][37] Uchun G'alati ertaklar, 1954 yil sentyabrdagi son 279-chi edi.^[38]

1970-yillar va 1980-yillarning boshlari

1950 yillarning o'rtalarida, Leo Margulies, jurnal nashriyot dunyosida taniqli arbob, bir nechta nomlarni nashr etishni rejalashtirgan yangi "Renown Publications" kompaniyasini ochdi. U ikkalasiga ham huquqlarni qo'lga kiritdi G'alati ertaklar va Qisqa hikoyalarva ikkala jurnalni ham qaytarib berishga umid qildi. U qayta boshlash rejasidan voz kechdi G'alati ertaklar tomonidan tavsiya etilganidan so'ng, 1962 yilda asl jurnalning qayta nashrlaridan foydalangan holda Sem Moskovits o'sha paytda g'alati va dahshatli fantastika uchun bozor kam bo'lganligi.^{[40][5-yozuvlar]} Buning o'rniga Margulies minani qazib oldi G'alati ertaklar 1960-yillarning boshlarida paydo bo'lgan to'rtta antologiyalar uchun backfile: Kutilmagan, Ghoul-Keepers, G'alati ertaklarva G'alati olamlar.^[41] So'nggi ikkitasi ruhni Moskovits tomonidan tahrirlangan, u Marguliyaga jurnalni qayta boshlash vaqti kelganida, unda Moskvits topgan qorong'u manbalardan qayta nashrlarni kiritish kerak, deb taklif qildi. G'alati ertaklar.^[41][43] Ushbu hikoyalar ko'pchilik o'quvchilar uchun yangi kabi yaxshi bo'lar edi va tejab qolingan pullar vaqti-vaqti bilan yangi hikoyalar uchun ishlatilishi mumkin edi.^[41]

Ning yangi versiyasi G'alati ertaklar nihoyat 1973 yil aprel oyida Moskovits tomonidan tahrirlangan Mashhur nashrlardan paydo bo'ldi. U zaif taqsimotga ega edi va savdo barqarorlik uchun juda past edi; Moskovitsning fikriga ko'ra, o'rtacha bir nashr 18000 nusxani tashkil etgan, bu jurnalning tirik qolishi uchun kerak bo'lgan 23000 donadan kam. 1974 yil yozida yozilgan to'rtinchi son, Margulies bundan mustasno, barcha jurnallarini yopib qo'yganligi sababli, oxirgisi edi Mayk Shayne sirli jurnali, bu foyda keltiradigan yagona narsa edi. Mayk Eshli, ilmiy fantastika jurnali tarixchisi, Moskovits har qanday holatda ham davom ettirishni xohlamasligini yozadi, chunki u Marguliesning qo'lyozmalarni tahrirlash va kirish yozuvlarini yozish kabi kundalik tahririyat vazifalarida batafsil ishtirok etishidan g'azablandi.^[41]

Margulies keyingi yili vafot etdi va uning bevasi Silviya Margulies unvon huquqini sotishga qaror qildi. Forrest Akerman, ilmiy fantastika muxlisi va muharriri manfaatdor tomonlardan biri edi, ammo u Viktor Driks va Robert Vaynbergga sotishni afzal ko'rdi.^[44] O'z navbatida, Vaynberg ushbu huquqni litsenziyalashgan Lin Karter, noshirni kim qiziqtirgan bo'lsa, Zebra kitoblari, loyihada. Natijada bir qator to'rtta qog'ozli antologiyalar, Lin Karter tomonidan tahrirlangan, 1981-1983 yillarda paydo bo'lgan;^[45] dastlab bular har chorakda bo'lishi rejalashtirilgan edi, lekin aslida ikkalasi ham 1980 yilning dekabrida paydo bo'lgan va ikkalasi ham 1981 yil bahorida bo'lgan. Keyingi yil 1981 yil kuzda bo'lgan;^[46] Karterning ushbu unvonga bo'lgan huquqi Vaynberg tomonidan 1982 yilda to'lovni to'lamaganligi uchun bekor qilingan, ammo to'rtinchi nashr allaqachon ishda bo'lgan va oxir-oqibat 1983 yil yozida paydo bo'lgan.^[47]

1982 yilda Sheldon Jaffery va Roy Torgeson litsenziyani qabul qilishni taklif qilish uchun Vaynberg bilan uchrashdi, ammo Vaynberg taklifni ta'qib qilmaslikka qaror qildi. Keyingi yili Brayan Forbes Vaynbergga boshqa taklif bilan murojaat qildi. Forbesning "Bellerophon Network" kompaniyasi Los-Anjelesdagi "Sehrgar" nomli kompaniyaning izi edi. Eshlining xabar berishicha, Vaynberg faqat Forbes bilan telefon orqali bog'lana olgan va hattoki bu har doim ham ishonchli bo'lmagan, shuning uchun muzokaralar sust kechgan. Forbes muharriri Gordon Garb, fantastika muharriri Gil Lamont; Forrest Akerman ham asosan yordam berish uchun material olish orqali yordam berdi. Loyihaning turli ishtirokchilari o'rtasida juda ko'p chalkashliklar mavjud edi:^[48] ga binoan Lokus, ilmiy fantastika savdosi jurnali "" Akkerman noshiri Forbes bilan aloqasi bo'lmaganligini, u to'plagan material bilan nima bo'lishini bilmasligini va boshqalar singari zulmatda ekanligini aytadi. Lamont hali ham qayta muzokara olib borayotganini aytadi. uning shartnomasi va qaerda turganiga amin emas ".^[49] Dastlabki rejasi birinchi nashr 1984 yil avgustda, iyul / avgust oylarida paydo bo'lishi kerak edi, ammo paydo bo'lishidan oldin tarkibni o'zgartirish to'g'risida qaror qabul qilindi va nihoyat yilning oxiriga kelib, yangi yilga kelib, butunlay qayta tiklangan kuzda paydo bo'ldi. 1984. Hatto shu kechikish bilan ham Vaynberg bilan litsenziyalash borasida yakuniy kelishuvga erishilmagan edi. Faqat 12500 nusxasi bosilgan; ikkalasi ham bankrotlikka uchragan ikkita distribyutorga yuborilgan. Natijada, bir nechta nusxalar sotildi va Forbes tarqatuvchilar tomonidan pul to'lamadi. Moliyaviy tanazzulga qaramay, Forbes davom ettirishga urinib ko'rdi va natijada ikkinchi masala paydo bo'ldi. Uning qopqog'i 1985 yil qish edi, lekin u 1986 yil iyunigacha nashr etilmadi. Bir nechta nusxalari bosilgan; hisobotlar jami 1500 dan 2300 gacha o'zgarib turadi. Mark Monsolo fantastika muharriri edi, ammo Garb tahririyat direktori sifatida davom etdi; Lamont endi jurnal bilan aloqasi yo'q edi.^[48]

Terminus va vorislari

G'alati ertaklar tomonidan 1980-yillarning oxirida yana tiklandi Jorj X.Skiters, Jon Gregori Betankur va Darrell Shvaytser Filadelfiyada joylashgan Terminus Publishing kompaniyasini tashkil qilgan va Vaynbergdan huquqlarni litsenziyalashgan. Ular qimmatga tushgan va 1980-yillarda unchalik samarasiz bo'lib qolgan gazetalarni tarqatishga e'tibor qaratish o'rniga, to'g'ridan-to'g'ri obunachilar bazasini yaratishni va jurnalni sotuvga ixtisoslashgan do'konlarda tarqatishni rejalashtirishdi.^[50] Birinchi sonida 1988 yil bahorining qopqoq sanasi bor edi, ammo u 1987 yilda chop etilishi uchun yetarlicha erta ishlab chiqarilgan edi Jahon hayoliy konvensiyasi yilda Nashvill, Tennesi.^[50][51] Hajmi asl pulpa versiyasi bilan bir xil edi, garchi u yaxshiroq qog'ozga bosilgan bo'lsa. Shuningdek, har bir nashrning cheklangan nashr etilgan nusxalari, imzo chekuvchilar tomonidan imzolangan. Maxsus World Fantasy mukofoti G'alati ertaklar 1992 yilda olingan bu jurnal sifat jihatidan muvaffaqiyat qozonganligini ko'rsatdi, ammo sotish xarajatlarni qoplash uchun etarli emas edi. Pulni tejash uchun format 1992/1993 yil qishning sonidan boshlab kattaroq kattalikka o'zgartirildi, ammo jurnal moliyaviy muammolarga duch keldi va keyingi bir necha yil ichida tartibsiz bo'lib qoldi. 1993 yil yozida nashr etilgan nashr oxirgi marta qattiq qopqoqli nashrga ega bo'ldi; shuningdek, bir muddat bu ismga ega bo'lgan oxirgi edi G'alati ertaklar, chunki Weinberg litsenziyani yangilamagan. Jurnal qayta nomlangan Fantaziya va dahshat olamlariva jildning raqamlanishi 1-jildning 1-raqamida qayta boshlandi, ammo boshqa yo'l bilan jurnal o'zgarmadi va ushbu nom ostida 1994-1996 yillarda chiqarilgan to'rtta son bibliograflar tomonidan umumiy qism sifatida qaraladi. G'alati ertaklar yugurish.^[50]

1995 yil aprelda, HBO burilish rejalari borligini e'lon qildi G'alati ertaklar xuddi shunga o'xshash uch epizodli antologiyada Kriptodan ertaklar seriyali. Huquqlar bo'yicha bitimni ssenariy mualliflari Mark Patrik Karduchchi va Piter Atkinslar osonlashtirdi. Direktorlar Tim Berton, Frensis Ford Koppola va Oliver Stoun ijro etuvchi prodyuserlar edi, ularning har biri epizodni boshqarishi kerak edi. Stoun uchuvchi direktori bo'lishi kerak edi, ammo serial hech qachon o'z samarasini bermadi.^[52]

1997 yilda biron bir muammo chiqmadi, ammo 1998 yilda Stsitirs va Shvaytser Uorren Lyupin bilan shartnoma tuzdilar DNK nashrlari bu ularga nashr etishni boshlashga imkon berdi G'alati ertaklar litsenziya ostida yana bir bor. Birinchi nashr 1998 yil yozida bo'lib o'tdi va 1998 yil qishdagi son chiqarilgandan tashqari, keyingi to'rt yarim yil davomida muntazam ravishda choraklik jadval saqlanib qoldi. Savdolari sust edi va hech qachon 6000 nusxadan oshmadi va DNK moliyaviy qiyinchiliklarga duch kela boshladi. Jon Betankurga tegishli bo'lgan Wildside Press 2003 yil iyul / avgust sonlaridan boshlab DNK va Terminus Publishing-ga hammuallif sifatida qo'shildi va G'alati ertaklar bir necha oy davomida asosan muntazam jadvalga qaytdi. Uzoq tanaffus 2005 yil boshida paydo bo'lgan 2004 yil dekabrdagi son bilan tugadi; bu DNK bilan tuzilgan oxirgi masala edi. Keyinchalik Wildside Press sotib oldi G'alati ertaklarva Betankur yana Stsiter va Shvaytserga qo'shma muharrir sifatida qo'shildi.^[39][50]

Birinchi Wildside Press nashri 2005 yil sentyabr oyida paydo bo'lgan va 2006 yil fevral oyining keyingi sonidan boshlab, jurnal bir muncha vaqt ikki oylik jadvalda qolishga muvaffaq bo'ldi. 2007 yil boshida Wildside yangilanishini e'lon qildi G'alati ertaklar, nomlash Stiven X.Segal tahririyat va ijodiy direktor va keyinchalik ishga qabul qilish Ann VanderMeer yangi fantastika muharriri sifatida.^[43] 2010 yil yanvar oyida jurnal Segal muharrir bo'lish uchun eng yuqori tahririyat lavozimidan ketishini e'lon qildi Qiziqarli kitoblar. VanderMeer bosh muharrirga ko'tarildi, Meri Robinet Koval xodimlarga badiiy direktor sifatida qo'shildi va Segal katta yordamchi muharrir bo'ldi.^[53]

2011 yil 23 avgustda Jon Betankur Wildside Press sotilishini e'lon qildi G'alati ertaklar Marvin Kaye va Nth Dimension Media kompaniyasining Jon Xarlaxeriga. Marvin Kaye bosh muharrirlik vazifalarini o'z zimmasiga oldi. Yangi nashriyotlar tomonidan birinchi bo'lib nashr etilgan 359-son 2012 yil fevral oyining oxirlarida nashr etilgan. 359-son chiqarilishidan bir necha oy oldin, Jahon Fantaziya Konvensiyasining oldindan ko'rib chiqilishining maxsus soni qiziquvchilar uchun bepul berildi.^{[54][55][56][57]} Keyin to'rtta son paydo bo'ldi, 2014 yil bahorida 362-son chiqarildi.^[58]

2019 yil 14-avgustda rasmiy G'alati ertaklar Facebook jurnali qaytib kelganini e'lon qildi G'alati ertaklar muallif bilan Jonathan Maberry tahririyat direktori sifatida. # 363-sonli nashrni sotib olish mumkin bo'ldi G'alati ertaklar veb-sayt.^[59]

Tarkibi va ziyofati

Henneberger berdi G'alati ertaklar birinchi sonidan boshlab "Noyob jurnal" taglavhasi. Henneberger "izdan tashqarida" yoki g'ayrioddiy material taqdim etilishiga umid qilar edi. Keyinchalik u uchta taniqli Chikagodagi yozuvchilar bilan suhbatni esladi, Xamlin Garland, Emerson Xyu va Ben Xech, ularning har biri "hayoliy, g'alati va g'ayrioddiy" hikoyalarni yozishdan qochishlarini aytgan.^[10] mavjud bozorlar tomonidan rad etish ehtimoli tufayli. U qo'shimcha qildi: "Shuni tan olishim kerakki, buni belgilashdagi asosiy sabab G'alati ertaklar yozuvchiga o'z ichki his-tuyg'ularini buyuk adabiyotga mos tarzda ifoda etish uchun erkinlik berish edi ".^[10]

Edvin Baird

Birinchi son G'alati ertaklar, 1923 yil mart kuni. Muqova muqovasi R. R. Epperliydir.^[60]

Edvin Baird, birinchi muharriri G'alati ertaklar, ish uchun ideal tanlov emas edi, chunki u dahshatli voqealarni yoqtirmasdi; uning tajribasi jinoyatchilikka bag'ishlangan va u sotib olgan materiallarning aksariyati yumshoq va asl bo'lmagan.^[9][10] Garne va Xoug singari yozuvchilar Henneberger nashr etishni umid qilib, Bairdga hech narsa topshirolmadilar va jurnal asosan an'anaviy hayoliy fantastikalarni nashr etdi, ko'plab hikoyalar telba boshpanalarida qahramonlar tomonidan hikoya qilingan yoki kundalik shaklida bayon etilgan.^[61][62] Birinchi nashrining muqovasi "Ooze" edi Entoni M. Rud; shuningdek, Otis Adelbert Klayn tomonidan "Ming shaklning ishi" serialining birinchi qismi va boshqa 22 ta hikoyalar bo'lgan. Eshli, Berd kabi materiallarni sotib olishga muvaffaq bo'lgan yaxshiroq pulpa yozuvchilarini taklif qiladi Frensis Stivens va Ostin Xoll boshqa joylarda rad etilgan Baird haqidagi hikoyalarni yuborishdi.^[63]

Yilning o'rtalarida Baird H. P. Lovecraft tomonidan taqdim etilgan beshta hikoyani oldi; Baird ularning beshtasini sotib oldi. Do'stlar tomonidan hikoyalarni topshirishga ishontirgan Lovecraft, qo'lyozmalarning sifatiga shunchalik salbiy ta'sir ko'rsatgan qopqoq xatini qo'shib qo'ydiki, Bayd uni 1923 yil sentyabr oyida nashr qildi va unga hikoyalarni sotib oldim degan yozuv qo'shib qo'ydi " Yuqorida aytilganlarga qaramay yoki shuning uchun ".^[64] Biroq, Baird hikoyalarni qayta terilgan ikki intervalli qo'lyozma sifatida yuborishni talab qildi; Lovecraft yozuvni yoqtirmasdi va dastlab faqat bitta hikoyani qayta topshirishga qaror qildi "Dagon ".^[64] U 1923 yil oktyabr oyida nashr etilgan bo'lib, u Berdning davrida eng diqqatga sazovor bo'lgan, chunki unda tez-tez yordam berib turadigan uchta yozuvchining hikoyalari bor edi. G'alati ertaklar: shuningdek, Lovecraft, bu jurnalda birinchi marta paydo bo'lishini belgiladi Frank Ouen va Seabury Quinn.^[14][63]

Robert Vaynberg, o'zining tarixida G'alati ertaklar, Bairdning nashrlari sifati past bo'lganligi bilan Eshli bilan rozi, ammo ba'zi yaxshi hikoyalar nashr etilganligini izohlaydi: "shunchaki bunday hikoyalar ulushi juda kichik edi".^[62] Vaynberg Rudning "Tuval maydoni" va Pol Suterning "Eshik ortida" asarlarini "g'ayrioddiy" deb alohida ta'kidlaydi;^[62] ikkalasi ham 1923 yil aprel sonida paydo bo'ldi. Vaynberg, shuningdek, M. L. Xemfrisning "Yuqoridagi qavat" va "Penelopa" asarlariga tegishli Vinsent Starrett, ikkala 1923 yil may sonidan va John Swainning "Lucifer" dan 1923 yil noyabr sonidan esda qolarli va buni sharhlaydi "Devorlardagi kalamushlar ", 1924 yil martdagi sonda Lovecraftning eng yaxshi hikoyalaridan biri bo'lgan. Lovecraftning hikoyalarini sotib olish uchun Baird yoki Henneberger aybdor bo'lganmi yoki yo'qmi noma'lum; Lovecraftning xatlaridan birida u Baird o'zining hikoyalarini sotib olishga intilganligini aniq ko'rsatib beradi, ammo Henneberger u Bairdni haddan tashqari oshirib yuborganligini va Bairdga Lovecraftning yozuvi yoqmasligini aytdi.^[65] Aynan Henneberger Lovecraft bilan bog'liq yana bir g'oyani taklif qildi: Henneberger bog'landi Garri Xudini va Houdini tomonidan taqdim etilgan syujetdan foydalanib, unga Lovecraft hayaletiga hikoya yozish uchun kelishuvlar qildi. Hikoya, "Fir'avnlar qamoqxonasida ", 1924 yil may / iyun / iyul oylarida Hudini nomi bilan paydo bo'ldi, ammo deyarli yo'qolgan edi - Lovecraft Nyu-Yorkka uylanish uchun olib borgan poezdda terilgan qo'lyozmani qoldirdi va natijada to'y kunining ko'p qismini qayta yozishga sarfladi qo'lda saqlanadigan nusxadan qo'lyozma.^[66][67]

1924 yil may / iyun / iyul sonlarida yana bir hikoya bor edi: "Sevganlar ", tomonidan Kichik C. M. Eddi zikrni o'z ichiga olgan nekrofiliya.^[68][69] Eddining so'zlariga ko'ra, bu jurnalni bir nechta shaharlardagi gazetalar do'konidan olib tashlashga va jurnal uchun foydali reklama olib borishga, sotishda yordam berishga olib keldi, ammo uning tarixida G'alati ertaklar Robert Vaynberg jurnalning taqiqlanganligi to'g'risida hech qanday dalil topmaganligini va jurnalning moliyaviy holati sotishdan ham foyda yo'qligini anglatadi.^[68] Biroq, S. T. Joshining aytishicha, jurnal haqiqatan ham Indiana shtatidagi gazetalar do'konidan olib tashlangan.^[70]

Berd davrida qopqoq rasmlari zerikarli edi; Eshli buni "yoqimsiz" deb ataydi,^[9] va Vaynberg birinchi nashrning muqovasining rang sxemasini "ilhomdan kam" deb ta'riflaydi, ammo keyingi oy muqovasini yaxshilanish deb biladi. Uning qo'shimcha qilishicha, 1923 yil may oyidan boshlab "qopqoqlar vasatlik chuquriga tushib ketgan". Vaynbergning fikriga ko'ra, jurnalning Baird davrida muvaffaqiyatsizlikka uchraganligi uchun ko'pincha R. M. Malli tomonidan kambag'al qopqoq san'ati aybdor bo'lishi mumkin.^[60] Vaynberg, shuningdek, jurnalning birinchi yilidagi ichki san'atni juda zaif deb hisoblaydi; ichki rasmlarning aksariyati kichkina edi va atmosferaning ozi bilan dahshat jurnalidan kutish mumkin edi. Barcha rasmlar Heitman tomonidan yozilgan bo'lib, Vaynberg uni "... tasavvurning to'liq etishmasligi bilan ajralib turadi. Heitmanning o'ziga xos xususiyati bu bitta hech qanday qo'rqinchli va g'alati hech narsa bo'lmagan qo'rqinchli hikoyadagi voqea va buni tasvirlovchi ".^[71][72]

Farnsvort Rayt

Margaret Brundajning yalang'och qoplamalaridan biri. Bu 1937 yil sentyabr oyidagi son uchun.^[73]

Farnsvort Raytning yangi muharriri, Baird mavjud bo'lgan pulpa toifalarining hech biriga mos kelmaydigan hikoyalarni nashr etishni istaganiga qaraganda ancha tayyor edi. Eshli o'z tanlovida Raytni "tartibsiz" deb ta'riflaydi, ammo uning rahbarligi ostida jurnal sifat jihatidan yaxshilandi.^[74] Uning birinchi soni 1924 yil noyabrda Bayd tomonidan tahrirlangan nashrlardan bir oz yaxshiroq edi, garchi unda yangi yozuvchilarning ikkita hikoyasi bor edi, Frank Belknap Long va Grey La Spina, kim mashhur hissadorlarga aylandi.^[75] Keyingi bir yil davomida Rayt doimiy va Long Spa singari yozuvchilar guruhini tuzdi va keyingi o'n yil va undan ko'p yillar davomida jurnal bilan chambarchas bog'liq bo'lgan yozuvchilarning ko'plab hikoyalarini nashr etdi. 1925 yil aprelda, Nictzin Dyalhis birinchi hikoyasi "Yashil yulduz o'chganda" paydo bo'ldi; Vaynberg buni juda eskirgan deb hisoblasa-da, o'sha paytda u juda qadrli edi va Rayt 1933 yilda uni eng mashhur voqea sifatida ro'yxatiga kiritdi. G'alati ertaklar. Ushbu nashrda La Spina romanining birinchi qismi ham bor edi Zulmatdan bosqinchilar Baird buni "juda oddiy" deb rad etgan edi. Bu kitobxonlar orasida nihoyatda mashhur bo'lib chiqdi va Vaynbergning ta'kidlashicha, Bairdning rad etilishi "oldingi muharrir tomonidan qilingan ko'plab xatolardan biri".^[76]

Artur J. Burks juda muvaffaqiyatli pulpa yozuvchisi bo'lishni davom ettiradigan, o'zining asl ismi ostida ham, o'zining birinchi sotuvi uchun ishlatiladigan taxallus ostida ham 1925 yil yanvarda paydo bo'lgan. Robert Spenser Karr birinchi hikoya 1925 yil mart oyida paydo bo'lgan; H. Warner Munn "Ponkertning bo'ri-bo'ri" 1925 yil iyulda paydo bo'lgan va o'sha sonda Rayt "Nayza va tish" ni nashr etgan, bu birinchi professional savdo Robert E. Xovard, kim yaratuvchisi sifatida mashhur bo'lar edi Konan barbar.^[76] 1925 yil oxirida Rayt "G'alati ertaklar eski g'alati hikoyalar, odatda dahshatli klassikalarni namoyish etgan reprint "bo'limi. Ko'pincha bu tarjimalar, ba'zida esa G'alati ertaklar hikoyaning ingliz tilidagi birinchi ko'rinishi edi.^[77]

Dastlab Rayt Lovecraft-ni rad etdi "Ktulxuning chaqirig'i ", lekin oxir-oqibat uni sotib oldi va 1928 yil fevraldagi sonida chop etdi.^[78] Bu birinchi ertak edi Kthulxu miflari, Lovecraft bir nechta hikoyalarni yaratgan xayoliy koinot. Vaqt o'tishi bilan boshqa yozuvchilar o'zlarining hikoyalarini bir xil umumiy fonda, shu jumladan Frank Belknap Long, Avgust Derlet, E. Hoffmann narxi va Donald Vandrey. Robert E. Xovard va Klark Eshton Smit Lovecraftning do'stlari edilar, ammo Ktulxuning hikoyalariga hissa qo'shmadilar; o'rniga Xovard yozgan qilich va sehr fantastika va Smit bir qator filmlar yaratdi yuqori fantaziya hikoyalar, ularning aksariyati uning qismi edi Giperborea tsikli.^[74] Robert Bloch, keyinchalik film muallifi sifatida tanilgan Psixologiya, hikoyalarini nashr etishni boshladi G'alati ertaklar 1935 yilda; u Lovecraftning ishqibozi edi va Lovecraft-dan uning hikoyalaridan birida Lovecraftni personaj sifatida qo'shishi va uni yo'q qilish uchun ruxsat so'radi. Lovecraft unga ruxsat berdi va ko'p o'tmay o'z hikoyalaridan birida Blochning ingichka niqobli versiyasini o'ldirish bilan javob qaytardi.^{[79][6-eslatma]} Edmond Xemilton, etakchi dastlabki yozuvchi kosmik opera, muntazam bo'lib qoldi va Rayt ilmiy fantastika hikoyalarini ham nashr etdi J. Shlossel va Otis Adelbert Kline.^[61] Tennessi Uilyams "birinchi sotuvi edi G'alati ertaklar, "nomli qisqa hikoyasi bilanNitokrisning qasosi "Bu 1928 yil avgustda nashr etilgan muallifning haqiqiy ismi Tomas Lanier Uilyams bilan nashr etilgan.^[81]

1936 yil dekabrning qopqog'i G'alati ertaklarRobert J. Xovardning rasmini aks ettiruvchi J. Allen Sent-Jon tomonidan Asshurbanipal olovi

G'alati ertaklar'subtitr "Noyob jurnal" edi va Raytning hikoyalari sarlavhasi subtitrda va'da qilinganidek xilma-xil edi;^[4] g'alati yoki g'alati hikoyalarni, agar ular jurnalga sig'inadigan darajada g'ayrioddiy bo'lsa, fantastik tasavvurga ega bo'lmagan holda nashr etishga tayyor edi.^[77] Although Wright's editorial standards were broad, and although he personally disliked the restrictions that convention placed on what he could publish, he did exercise caution when presented with material that might offend his readership.^[74][82] E. Hoffmann Price records that his story "Stranger from Kurdistan" was held after purchase for six months before Wright printed it in the July 1925 issue; the story includes a scene in which Christ and Satan meet, and Wright was worried about the possible reader reaction. The story nevertheless proved to be very popular, and Wright reprinted it in the December 1929 issue. He also published "The Infidel's Daughter" by Price, a satire of the Ku-kluks-klan, which drew an angry letter and a cancelled subscription from a Klan member. Price later recalled Wright's response: "a story that arouses controversy is good for circulation ... and anyway it would be worth a reasonable loss to rap bigots of that caliber".^[82] Wright also printed Jorj Filding Eliot 's "The Copper Bowl", a story about a young woman being tortured; she dies when her torturer forces a rat to eat through her body. Weinberg suggests that the story was so gruesome that it would have been difficult to place in a magazine even fifty years later.^[83]

On several occasions Wright rejected a story of Lovecraft's only to reconsider later; de Camp suggests that Wright's rejection at the end of 1925 of Lovecraft's "Vaultda ", a story about a mutilated corpse taking revenge on the undertaker responsible, was because it was "too gruesome", but Wright changed his mind a few years later, and the story eventually appeared in April 1932.^[84] Wright also rejected Lovecraft's "Kumush kalit eshigi orqali " in mid-1933. Price had revised the story before passing it to Wright, and after Wright and Price discussed the story, Wright bought it, in November of that year.^[85] Wright turned down Lovecraft's novel Jinnilik tog'larida in 1935, though in this case it was probably because of the story's length—running a serial required paying an author for material that would not appear until two or three issues later, and G'alati ertaklar often had little cash to spare. In this case he did not change his mind.^[86]

Quinn was G'alati ertaklar' most prolific author, with a long-running sequence of stories about a detective, Jyul de Grandin, who investigated supernatural events, and for a while he was the most popular writer in the magazine.^[7-yozuvlar] Other regular contributors included Pol Ernst, Devid X. Keller, Greye La Spina, Xyu B. g'ori, and Frank Owen, who wrote fantasies set in an imaginary version of the Far East.^[74] C.L. Mur 's story "Shambleau ", her first sale, appeared in G'alati ertaklar in November 1933; Price visited the G'alati ertaklar offices shortly after Wright read the manuscript for it, and recalls that Wright was so enthusiastic about the story that he closed the office, declaring it "C.L. Moore day".^[88] The story was very well received by readers, and Moore's work, including her stories about Joiriy Jirel va Northwest Smith, appeared almost exclusively in G'alati ertaklar keyingi uch yil ichida.^[74][89]

Illustration by Virgil Finlay for Tennyson's "The Princess", from the October 1938 issue

As well as fiction, Wright printed a substantial amount of poetry, with at least one poem included in most issues. Originally this often included reprints of poems such as Edgar Allan Po "El Dorado ", but soon most of the poetry was original, with contributions coming from Lovecraft, Howard, and Clark Ashton Smith, among many others.^[90][91][92] Lovecraft's contributions included ten of his "Fungi from Yuggoth " poems, a series of sonnets on weird themes that he wrote in 1930.^[93]

The artwork was an important element of the magazine's personality, with Margaret Brundage, who painted many covers featuring nudes for G'alati ertaklar, perhaps the best known artist.^[74] Many of Brundage's covers were for stories by Seabury Quinn, and Brundage later commented that once Quinn realized that Wright always commissioned covers from Brundage that included a nude, "he made sure that each de Grandin story had at least one sequence where the heroine shed all her clothes".^[94] For over three years in the early 1930s, from June 1933 to August/September 1936, Brundage was the only cover artist G'alati ertaklar ishlatilgan.^[94][95] Another prominent cover artist was J. Allen Sent-Jon, whose covers were more action-oriented, and who designed the title logo used from 1933 until 2007.^[74] Hannes Bok 's first professional sale was to G'alati ertaklar, for the cover of the December 1939 issue; he became a frequent contributor over the next few years.^[96]

Virjil Finlay, one of the most important figures in the history of science fiction and fantasy art, made his first sale to Wright in 1935; Wright only bought one interior illustration from Finlay at that time because he was concerned that Finlay's delicate technique would not reproduce well on pulp paper. After a test print on pulp stock demonstrated that the reproduction was more than adequate,^[97] Wright began to buy regularly from Finlay, who became a regular cover artist for G'alati ertaklar starting with the December 1935 issue.^[98] Demand from readers for Finlay's artwork was so high that in 1938 Wright commissioned a series of illustrations from Finlay for lines taken from famous poems, such as "O sweet and far, from cliff and scar/The horns of Elfland faintly blowing", from Tennyson's "Malika ".^[99] Not every artist was as successful as Brundage and Finlay: Price suggested that Curtis Senf, who painted 45 covers early in Wright's tenure, "was one of Sprenger's bargains", meaning that he produced poor art, but worked fast for low rates.^[100]

During the 1930s, Brundage's rate for a cover painting was $90. Finlay received $100 for his first cover, which appeared in 1937, over a year after his first interior illustrations were used; Weinberg suggests that the higher fee was partly to cover postage, since Brundage lived in Chicago and delivered her artwork in person, but it was also because Brundage's popularity was beginning to decline. When Delaney acquired the magazine in late 1938, the fee for a cover painting was cut to $50, and in Weinberg's opinion the quality of the artwork declined immediately. Nudes no longer appeared, though it is not known if this was a deliberate policy on Delaney's part. In 1939 a campaign by Fiorello LaGuardiya, the mayor of New York, to eliminate sex from the pulps led to milder covers, and this may also have had an effect.^[101]

Finlay's illustration for Earl Peirce's "The Homicidal Diary" in the October 1937 issue

In 1936, Howard committed suicide, and the following year Lovecraft died.^[102] There was so much unpublished work by Lovecraft ^[8-yozuv] that Wright was able to use that he printed more material under Lovecraft's byline after his death than before.^[103] In Howard's case, there was no such trove of stories available, but other writers such as Henry Kuttner provided similar material.^[28] By the end of Wright's tenure as editor, many of the writers who had become strongly associated with the magazine were gone; Kuttner, and others such as Price and Moore, were still writing, but Weird Tales' rates were too low to attract submissions from them. Clark Ashton Smith had stopped writing, and two other writers who were well-liked, G.G. Pendarves and Genri Uaytxed vafot etgan.^[102]

Except for a couple of short-lived magazines such as G'alati ertaklar va Sehr va sir haqidagi ertaklar, and a weak challenge from Ghost Stories, all between the late 1920s and the early 1930s, G'alati ertaklar had little competition for most of Wright's sixteen years as editor. In the early 1930s, a series of pulp magazines began to appear that became known as "g'alati tahdid " magazines. These lasted until the end of the decade, but despite the name there was little overlap in subject matter between them and G'alati ertaklar: the stories in the weird menace magazines appeared to be based on occult or supernatural events, but at the end of the tale the mystery was always revealed to have a logical explanation.^[104] In 1935 Wright began running weird detective stories to try to attract some of the readers of these magazines to G'alati ertaklar, and asked readers to write in with comments. Reader reaction was uniformly negative, and after a year he announced that there would be no more of them.^[105]

Cover of the January 1938 issue, by Margaret Brundage

In 1939 two more serious threats appeared, both launched to compete directly for G'alati ertaklar' readers. G'alati hikoyalar appeared in February 1939 and lasted for just over two years; Weinberg describes it as "top-quality",^[102] though Ashley is less complimentary, describing it as largely unoriginal and imitative.^[106] The following month the first issue of Noma'lum appeared from Street & Smith.^[107] Fritz Leyber submitted several of his "Fafhrd va Kul Mouser " stories to Wright, but Wright rejected all of them (as did McIlwraith when she took over the editorship). Leiber subsequently sold them all to John W. Campbell for Noma'lum; Campbell commented each time to Leiber that "these would be better in G'alati ertaklar". The stories grew into a very popular sword and sorcery series, but none of them ever appeared in G'alati ertaklar. Leiber did eventually sell several stories to G'alati ertaklar, beginning with "The Automatic Pistol", which appeared in May 1940.^[102][108]

G'alati ertaklar included a letters column, titled "The Eyrie", for most of its existence, and during Wright's time as editor it was usually filled with long and detailed letters. When Brundage's nude covers appeared, a lengthy debate over whether they were suitable for the magazine was fought out in the Eyrie, with the two sides divided about equally. For years it was the most discussed topic in the magazine's letter column. Many of the authors Wright published wrote letters too, including Lovecraft, Howard, Kuttner, Bloch, Smith, Quinn, Wellman, Price, and Wandrei. In most cases these letters praised the magazine, but occasionally a critical comment was raised, as when Bloch repeatedly expressed his dislike for Howard's stories of Conan the Barbarian, referring to him as "Conan the Cimmerian Chipmunk".^[109] Another debate that was aired in the letter column was the question of how much science fiction the magazine should include. Gacha Ajoyib hikoyalar was launched in April 1926, science fiction was popular with G'alati ertaklar' readers, but after that point letters began to appear asking Wright to exclude science fiction, and only publish weird fantasy and horror. The pro-science fiction readers were in the majority, and as Wright agreed with them, he continued to include science fiction in G'alati ertaklar.^[110] Hugh B. Cave, who sold half-a-dozen stories to Wright in the early 1930s, commented on "The Eyrie" in a letter to a fellow writer: "No other magazine makes such a point of discussing past stories, and letting the authors know how their stuff is received".^[111]

Doroti McIlwraith

Cover of the November 1941 issue, by Hannes Bok^[112]

McIlwraith was an experienced magazine editor, but she knew little about weird fiction, and unlike Wright she also had to face real competition from other magazines for G'alati ertaklar' core readership.^[102] Garchi Noma'lum folded in 1943, in its four years of existence it transformed the field of fantasy and horror, and G'alati ertaklar was no longer regarded as the leader in its field. Noma'lum published many successful humorous fantasy stories, and McIlwraith responded by including some humorous material, but G'alati ertaklar' rates were less than Noma'lum"s, with predictable effects on quality.^[28][107] In 1940 the policy of reprinting horror and weird classics ceased, and G'alati ertaklar began using the slogan "All Stories New – No Reprints". Weinberg suggests that this was a mistake, as G'alati ertaklar' readership appreciated getting access to classic stories "often mentioned but rarely found".^[113] Without the reprints G'alati ertaklar was left to survive on the rejects from Noma'lum, with the same authors selling to both markets. In Weinberg's words, "only the quality of the stories [separated] their work between the two pulps".^[113]

Delaney's personal taste also reduced McIlwraith's latitude. In an interview with Robert A. Lowndes in early 1940, Delaney spoke about his plans for G'alati ertaklar. After saying that the magazine would still publish "all types of weird and fantasy fiction", Lowndes reported that Delaney did not want "stories which center about sheer repulsiveness, stories which leave an impression not to be described by any other word than 'nasty'". Lowndes later added that Delaney had told him he found some of Clark Ashton Smith's stories on the "disgusting side".^{[114][9-qayd]}

McIlwraith continued to publish many of Weird Tales' most popular authors, including Quinn, Derleth, Hamilton, Bloch, and Meni Ueyd Uellman.^[28] She also added new contributors; as well as publishing many of Rey Bredberi 's early stories, G'alati ertaklar regularly featured Fredrik Braun, Meri Elizabeth maslahatchisi, Fritz Leyber va Teodor Sturgeon.^[74] As Wright had done, McIlwraith continued to buy Lovecraft stories submitted by August Derleth, though she abridged some of the longer pieces, such as "Innsmut ustidagi soya ".^[103] Sword and sorcery stories, a genre which Howard had made much more popular with his stories of Conan, Sulaymon Keyn va Kepak Mak Morn yilda G'alati ertaklar in the early 1930s, had continued to appear under Farnsworth Wright; they all but disappeared during McIlwraith's tenure. McIlwraith also focused more on short fiction, and serials and long stories were rare.^[28][115]

In May 1951 G'alati ertaklar once again began to include reprints, in an attempt to reduce costs, but by that time the earlier issues of G'alati ertaklar had been extensively mined for reprints by August Derleth's publishing venture, Arkham uyi, and as a result McIlwraith often reprinted lesser-known stories. They were not advertised as reprints, which led in a couple of cases to letters from readers asking for more stories from H. P. Lovecraft, whom they believed to be a new author.^[116]

Cover of the May 1952 issue, by Virgil Finlay

In Weinberg's opinion, the magazine lost variety under McIlwraith's editorship, and "much of the uniqueness of the magazine was gone".^[28] In Ashley's view, the magazine became more consistent in quality, rather than worse; Ashley comments that though the issues edited by McIlwraith "seldom attain[ed] Wright's highpoints, they also omitted the lows".^[74] L. Sprague de Camp, towards the end of McIlwraith's time as editor, agreed that the 1930s were the magazine's heyday, citing Wright's death and the departure for other, better-paying, markets of several of its contributors as factors in the magazine's decline.^[117]

Sifati G'alati ertaklar' artwork suffered when Delaney cut the rates.^[118] Bok, whose first cover had appeared in December 1939, moved to New York and joined the office art staff for a while; he eventually left because of the low pay. Boris Dolgov began contributing in the 1940s; he was a friend of Bok's and the two occasionally collaborated, signing the result "Dolbokgov". Weinberg regards Dolgov's illustration for Robert Bloch's "Yours Truly, Jack the Ripper" as one of his best works.^[119] G'alati ertaklar' paper was of very poor quality, which meant that the reproductions were poor, and along with the low pay rate for art this meant that many artists treated G'alati ertaklar as a last resort for their work.^[120] Deymon ritsar, who sold some interior artwork to G'alati ertaklar in the early 1940s, recalled later that he was paid $5 for a single-page drawing, and $10 for a double-page spread; he worked slowly and the low pay meant G'alati ertaklar was not a viable market for him.^[121]

The art editor, Lamont Buchanan, was able to establish five artists as regulars by the mid-1940s; they remained regular contributors until 1954, when the magazine's first incarnation ceased publication. The five were Dolgov, John Giunta, Fred Humiston, Vincent Napoli va Li Braun Koyi.^[120] In Weinberg's review of G'alati ertaklar' interior art, he describes Humiston's work as ranging "from bad to terrible", but he is more positive about the others. Napoli had worked for G'alati ertaklar from 1932 to the mid-1930s, when he began selling to the science fiction pulps, but his work for Qisqa hikoyalar uni qaytarib olib keldi G'alati ertaklar 1940-yillarda. Weinberg speaks highly of both Napoli and Coye, whom Weinberg describes as "the master of the weird and grotesque illustration". Coye did a series of full-page illustrations for G'alati ertaklar called "Weirdisms", which ran intermittently from November 1948 to July 1951.^{[122][123][124]}

The letter column, "The Eyrie", was much reduced in size during McIlwraith's tenure, but as a gesture to the readers a "G'alati ertaklar Club" was started. Joining the Club simply meant writing in to receive a free membership card; the only other benefit was that the magazine listed all the members' names and addresses, so that members could contact each other. Among the names listed in the January 1943 issue was that of Xyu Xefner, later to become famous as the founder of Playboy.^[125]

Towards the end of McIlwraith's time as editor a couple of new writers appeared, including Richard Matheson va Jozef Peyn Brennan.^[74] Brennan had already sold over a dozen stories to other pulps when he finally made a sale to McIlwraith, but he had always wanted to sell to G'alati ertaklar, and three years after the magazine folded he launched a small-press horror magazine named Makabre, which he published for some years, in imitation of G'alati ertaklar.^[126]

Moskowitz, Carter, and Bellerophon

The four issues edited by Sam Moskowitz in the early 1970s were mostly notable for a detailed biography of Uilyam Hope Xojson, serialized over three issues, along with some rare stories of Hodgson's that Moskowitz had unearthed. Many of the other stories were reprints, either from G'alati ertaklar or from other early pulps such as Qora mushuk yoki Moviy kitob. In Ashley's opinion, the magazine "had the feel of a museum piece with nothing new or progressive", though Weinberg describes the magazine as having "an interesting jumble of contents".^[127] The subsequent paperback series edited by Lin Carter was criticized in similar terms: Weinberg regards it as having "too much reliance ... on the old names like Lovecraft, Howard and Smith by reprinting mediocre material ... New writers were not sufficiently encouraged",^[127] though Weinberg does add that Ramsey Kempbell, Tanit Li va Stiv Rasnic Tem were among the newer writers who contributed good material.^[127] Ashley's opinion of the two Bellerophon issues is low: he describes them as lacking "any clear editorial direction or acumen".^[48]

Wildside Press and after

The April/May 2007 edition featured the magazine's first all-new design in almost seventy-five years. During the next few years, G'alati ertaklar published works by a wide range of strange-fiction authors including Maykl Murkok and Tanith Lee, as well as newer writers such as Jey Leyk, Mushuk Rambo va Reychel Svirski.^[43] The period also saw the addition of a broader range of content, ranging from narrative essays to comics to features on weird culture. The magazine won its first Ugo mukofoti in August 2009, in the semiprozine toifasi,^[128] two Hugo Award nominations in subsequent years,^[129] and its first World Fantasy Award nomination, for editors Segal and Vandermeer, in more than seventeen years.^[129][130]

2012 yil avgust oyida, G'alati ertaklar became involved in a media altercation after the editor announced the magazine was going to publish an excerpt from Victoria Foyt munozarali roman Save the Pearls, which many critics accused of featuring racist qolipga solish. The decision was made despite the protests of VanderMeer, and prompted her to end her association with the magazine.^[131] The publisher subsequently overruled the editor, and announced that G'alati ertaklar no longer had plans to run the excerpt.^[132]

Meros

G'alati ertaklar was one of the most important magazines in the fantasy field; in Ashley's view, it is "second only to Noma'lum in significance and influence".^[4] Weinberg goes further, calling it "the most important and influential of all fantasy magazines". Weinberg argues that much of the material G'alati ertaklar published would never have appeared if the magazine had not existed. Bu orqali edi G'alati ertaklar that Lovecraft, Howard, and Clark Ashton Smith became widely known, and it was the first and one of the most important markets for weird and science fantasy artwork. Many of the horror stories adapted for early radio shows such as Stay Tuned for Terror originally appeared in G'alati ertaklar.^[3] The magazine's "Golden Age" was under Wright, and de Camp argues that one of Wright's accomplishments was to create a "G'alati ertaklar school of writing".^[133] Justin Everett and Jeffrey H. Shanks, the editors of a recent scholarly collection of literary criticism focused on the magazine, argue that "G'alati ertaklar functioned as a nexus point in the development of speculative fiction from which emerged the modern genres of fantasy and horror".^[134]

The magazine was, unusually for a pulp, included by the editors of the annual Year in Fiction anthologies, and was generally regarded with more respect than most of the pulps. This remained true long after the magazine's first run ended, as it became the main source of fantasy short stories for anthologists for several decades.^[135] Weinberg argues that the fantasy pulps, of which, in his opinion, G'alati ertaklar was the most influential, helped to form the modern fantasy genre, and that Wright, "if he was not a perfect editor ... was an extraordinary one, and one of the most influential figures in modern American fantasy fiction",^[136] buni qo'shib qo'ying G'alati ertaklar and its competitors "served as the bedrock upon which much of modern fantasy rests".^[137] Everett and Shanks agree, and regard G'alati ertaklar as the venue where writers, editors and an engaged readership "elevated speculated fiction to new heights" with influence that "reverberates through modern popular culture".^[138] In Ashley's words, "somewhere in the imagination reservoir of all U.S. (and many non-U.S.) genre-fantasy and horror writers is part of the spirit of G'alati ertaklar".^[5]

Four interior illustrations from G'alati ertaklar. From left to right, the artists are Finlay (1938), Bok (1941), Dolgov (1943), and Coye (late 1940s or early 1950s).

Bibliografik tafsilotlar

Virgil Finlay's interior illustration for H.P. Lovecraft's "The Shunned House", from the October 1937 issue of G'alati ertaklar^[139]

The editorial succession at G'alati ertaklar quyidagicha edi:^[11][140]

The publisher for the first year was Rural Publishing Corporation; this changed to Popular Fiction Publishing with the November 1924 issue, and to Weird Tales, Inc. with the December 1938 issue. The four issues in the early 1970s came from Renown Publications, and the four paperbacks in the early 1980s were published by Zebra Books. The next two issues were from Bellerophon, and then from Spring 1988 to Winter 1996 the publisher was Terminus. From Summer 1998 to July/August 2003 the publisher was DNA Publications and Terminus, listed either as DNA Publications/Terminus or just as DNA Publications. The September/October 2003 issue listed the publisher as DNA Publications/Wildside Press/Terminus, and through 2004 this remained the case, with one issue dropping Terminus from the masthead. Thereafter Wildside Press was the publisher, sometimes with Terminus listed as well, until the September/October 2007 issue, after which only Wildside Press were listed. The issues published from 2012 through 2014 were from Nth Dimension Media.^[11][140]

G'alati ertaklar was in pulp format for its entire first run except for the issues from May 1923 to April 1924, when it was a large pulp, and the last year, from September 1953 to September 1954, when it was a digest. The four 1970s issues were in pulp format. The two Bellerophon issues were kvarto. The Terminus issues reverted to pulp format until the Winter 1992/1993 issue, which was large pulp. A single pulp issue appeared in Fall 1998, and then the format returned to large pulp until the Fall 2000 issue, which was quarto. The format varied between large pulp and quarto until January 2006, which was large pulp, as were all issues after that date until Fall 2009, except for a quarto-sized November 2008. From Summer 2010 the format was quarto.^[11][140]

The first run of the magazine was priced at 25 cents for the first fifteen years of its life except for the oversized May/June/July 1924 issue, which was 50 cents. In September 1939 the price was reduced to 15 cents, where it stayed until the September 1947 issue, which was 20 cents. The price went up again to 25 cents in May 1949; the digest-sized issues from September 1953 to September 1954 were 35 cents. The first three paperbacks edited by Lin Carter were priced at $2.50; the fourth was $2.95. The two Bellerophon issues were $2.50 and $2.95. The Terminus G'alati ertaklar began in Spring 1988 priced at $3.50; this went up to $4.00 with the Fall 1988 issue, and to $4.95 with the Summer 1990 issue. The next price increase was to $5.95, in Spring 2003, and then to $6.99 with the January 2008 issue. The first two issues from Nth Dimension Media were priced at $7.95 and $6.99; the last two were $9.99 each.^[11][140]

Some of the early Terminus editions of G'alati ertaklar were also printed in hardcover format, in limited editions of 200 copies. These were signed by the contributors, and were available at $40 as part of a subscription offer. Issues produced in this format include Summer 1988, Spring/Fall 1989, Winter 1989/1990, Spring 1991, and Winter 1991/1992.^[50][140]

Antologiyalar

1925 yildan boshlab, Kristin Kempbell Tomson edited a series of horror story anthologies, published by Selwyn and Blount, sarlavhali Not at Night. These were considered an unofficial U.K. edition of the magazine, with the stories sometimes appearing in the anthology before the magazine's U.S. version appeared. The ones which drew a substantial fraction of their contents from G'alati ertaklar edi:^[141][142]

There was also a 1937 anthology titled Not at Night Omnibus, which selected 35 stories from the Not at Night series, of which 20 had originally appeared in G'alati ertaklar. In the U.S. an anthology titled Not at Night!, edited by Herbert Asbury, appeared from Macy-Macius 1928 yilda; this selected 25 stories from the series, with 24 of them drawn from G'alati ertaklar.^[141]

Numerous other anthologies of stories from G'alati ertaklar nashr etilgan, shu jumladan:^{[43][143][144][145][146][147][148][149][150][151][152]}

Canadian and British editions

A Canadian edition of G'alati ertaklar appeared from June 1935 to July 1936; all fourteen issues are thought to be identical to the U.S. issues of those dates, though "Printed in Canada" appeared on the cover, and in at least one case another text box was placed on the cover to conceal part of a nude figure. Another Canadian series began in 1942, as a result of import restrictions placed on U.S. magazines. Canadian editions from 1942 up to January 1948 were not identical to the U.S. editions, but they match closely enough that the originals are easily identified. From the May 1942 to January 1945 issues, they correspond to the U.S. editions two issues earlier, that is, from January 1942 to September 1944. There was no Canadian issue corresponding to the November 1944 U.S. issue, so from that point the Canadian issues were only one behind the U.S. ones: the issues from March 1945 to January 1948 correspond to the U.S. issues from January 1945 to November 1947. There was no Canadian issue of the January 1948 U.S. issue, and from the next issue, March 1948, till the end of the Canadian run in November 1951, the issues were identical to the U.S. versions.^[155]

There were numerous differences between the Canadian issues from May 1942 to January 1948 and the corresponding U.S. issues. All the covers were repainted by Canadian artists until the January 1945 issue; thereafter the artwork from the original issues was used. Initially the fiction content of the Canadian issues was unchanged from the U.S., but starting in September 1942 the Canadian G'alati ertaklar dropped some of the original stories in each issue, replacing them with either stories from other issues of G'alati ertaklar, or, occasionally, material from Qisqa hikoyalar.^[155]

The U.S. and Canadian covers for the November 1935 issue, with part of the nude figure (by Margaret Brundage) obscured for the Canadian version^[156]

In a couple of instances a story appeared in the Canadian edition of the magazine before its appearance in the U.S. version, or simultaneously with it, so it is evident that whoever assembled the issues had access to the G'alati ertaklar pending story file. Because of the reorganization of material, it often happened that one of the Canadian issues would have more than a single story by the same author. In these cases a pseudonym was invented for one of the stories.^[155]

There were four separate editions of G'alati ertaklar distributed in the United Kingdom. In early 1942, three issues abridged from the September 1940, November 1940, and January 1941 U.S. issues were published in the U.K. by Gerald Swan; they were undated, and had no volume numbers. The middle issue was 64 pages long; the other two were 48 pages. All were priced at 6d. A single issue was released in late 1946 by William Merrett; it also was undated and unnumbered. It was 36 pages long, and was priced at 1/6. The three stories included came from the October 1937 U.S. issue.^[153]

A longer run of 23 issues appeared between November 1949 and December 1953, from Thorpe and Porter. These were all undated; the first issue had no volume or issue number but subsequent issues were numbered sequentially. Most were priced at 1/-; issues 11 to 15 were 1/6. All were 96 pages long. The first issue corresponds to the July 1949 U.S. issue; the next 20 issues correspond to the U.S. issues from November 1949 to January 1953, and the final two issues correspond to May 1953 and March 1953, in that order. Another five bimonthly issues appeared from Thorpe and Porter dated November 1953 to July 1954, with the volume numbering restarted at volume 1 number 1. These correspond to the U.S. issues from September 1953 to May 1954.^[153]

To'plash qobiliyati

G'alati ertaklar is widely collected, and many issues command very high prices. In 2008, Mike Ashley estimated the first issue to be worth £3,000 in excellent condition, and added that the second issue is much rarer and commands higher prices. Issues with stories by Lovecraft or Howard are very highly sought-after, with the October 1923 issue, containing "Dagon", Lovecraft's first appearance in G'alati ertaklar, fetching comparable prices to the first two issues.^[157] The first few volumes are so rare that very few academic collections have more than a handful of these issues: Sharqiy Nyu-Meksiko universiteti, the holder of a remarkably complete early science fiction archive, has "only a few scattered issues" from the early years, and the librarian recorded in 1983 that "dealers laugh when Eastern enquires about these".^[158]

Prices of the magazine drop over the succeeding decades, with the McIlwraith issues worth far less than the ones edited by Wright. Ashley quotes the digest-sized issues from the end of McIlwraith's tenure as fetching £8 to £10 each as of 2008. The revived editions are not particularly scarce, with two exceptions. The two Bellerophon issues received such poor distribution that they fetch high prices: Ashley quotes a 2008 price of £40 to £50 for the first one, and twice that for the second one. The other valuable recent issues are the hardback versions of the Terminus G'alati ertaklar; Ashley gives prices of between £40 and £90, with some of the special author issues fetching a premium.^[157]

Izohlar

Adabiyotlar

Manbalar

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• Eshli, Mayk (1985b). "Bu boshqa" g'alati ertaklar'". Etchings va Odisseya (6): 31–35.
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• Rayt, Farnsvort, tahr. (1927). Oy dahshati. Indianapolis: mashhur badiiy nashriyot kompaniyasi.

Qo'shimcha o'qish

• Uilyam Fulviler va Grem Flanagan. Televizionda g'alati ertaklar. Kthulxuning shifri, 4, № 5 (butun raqam 30) (Eastertide 1985): 29-32, 52.
• G'alati ertaklar: Noyob jurnal pulpmags.org