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Novels and Collections. Abyss, The A research psychiatrist convinces a wealthy banker to finance the evaluation of a new drug, but gets more than he bargained for when his test subjects, the entire population of New York City, lose control of their inhibitions. Devil and the Doctor, The A country doctor is tempted by the devil. Eternal Conflict, The ; A young woman, dissatisfied with her prosaic life at home with her mother, relocates to a dream world where her companions are centaurs, Harpies, unicorns, dragons, and a talking cat. Homunculus, The A man wills himself to give birth through parthenogenic cloning.

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Schuyler Miller, Analog , October Schuyler Miller, Analog , September Gale, Galaxy , August Gale, Galaxy , December Schuyler Miller, Analog , November Science Fiction Stories was bimonthly throughout, except for a brief period from mid to early when it patchily adhered to a monthly schedule. Future Fiction began with three undated issues, then switched to a quarterly schedule in , and finally to a regular bimonthly schedule from the start of This was intended to make it clear that the magazine was a continuation of the version of Science Fiction , but it led to additional confusion, with some readers believing that this was an entirely new magazine.

Lowndes addressed the confusion in the letter column of Science Fiction Stories , saying [24]. To this I reply that you may have it either way, or in this instance, both ways!

Lowndes, Robert W. [WorldCat Identities]

Really, I don't see why science fictionists, who can absorb alternate time tracks etc. In Silberkleit's distributor stopped carrying his magazines, and both titles ceased publication, with no notice given in their final issues that this was the end. The first issue of Science Fiction showed the continuing influence of Hugo Gernsback in the sf magazine field: in addition to an editor who had worked for him, the magazine featured a guest editorial by Gernsback, and the cover was painted by Frank R.

Paul , a stalwart of the Gernsback days [5] [30] —in fact, all 12 of Science Fiction 's covers for the first series were painted by Paul. Hornig worked with Julius Schwartz , a literary agent who was a friend of his; this gave him access to stories by the writers Schwartz represented, but Schwartz would not allow his authors' real names to be used unless they were paid at least one cent per word.

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Hornig could not afford to pay the one cent rate for everything he bought, so he paid half a cent a word for much of what he acquired through Schwartz, and ran those stories under pseudonyms. Unsurprisingly, given the low rates, the stories sent to Hornig had usually already been rejected by the better-paying markets. The result was mediocre fiction, even from the better-known writers that Hornig was able to attract. A letter from Ray Bradbury , who was a friend of Hornig's, was published in the second issue of Science Fiction , encouraging Hornig to publish sophisticated stories; in response, Hornig wrote "I'm trying to give the magazine an appeal to mature minds", but sf historian Mike Ashley comments that "this never became evident".

Kaplan , J. Harvey Haggard , and Miles J. Breuer , all of whom had been more active some years earlier, and Ashley suggests that Hornig may have obtained some of the many stories that Palmer threw out when he became editor of Amazing Stories in When Future was relaunched in early , the sf magazine field was not particularly crowded, and Lowndes was able to attract moderately good stories from writers who were either well-known or on their way up in the field. Beam Piper , and L. Sprague de Camp.

Clarke , and "Liberation of Earth" by William Tenn , [35] which Damon Knight described as "the funniest story [Tenn has] ever written". The trial issues of Science Fiction Stories in and were competent but unremarkable, with stories by some popular writers, such as Poul Anderson , Algis Budrys , and Philip K. Scortia 's best short stories.

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Dick's novel of the same name ; Clifford D. Simak 's "Worlds Without End"; and Judith Merril's "Homecalling", reprinted in the s in SF Impulse , whose editor, Kyril Bonfiglioli , commented "I don't believe I have ever read a more successful attempt to imagine an utterly alien way of thought.

Lafferty 's first story appeared in Science Fiction Stories in the January issue, shortly before the magazine was closed down. Charles Hornig was the editor of all 12 issues of the first incarnation of Science Fiction , and of the first five issues of Future Fiction. Robert W. Lowndes was the editor of all subsequent issues of both titles. Both Future and Science Fiction began as pulp magazines; the experimental issue of Science Fiction Stories saw a change to digest format for that title, and Future followed suit in late with issue Both titles were initially priced at 15 cents.

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Future raised its price to 20 cents for the July issue, the last of its first run, but dropped to 15 cents again when it was relaunched in With the November issue the price went back to 20 cents, and it rose to 25 cents with the January issue and 35 cents in June When Science Fiction Stories reappeared in , it was priced at 35 cents, and stayed at that price throughout the remainder of its run.

Science Fiction began in March at pages. Future Fiction was pages when it was launched in November of that year, and shortly afterwards, March , Science Fiction dropped to pages. The combined magazine, Future Combined with Science Fiction , retained Future ' s page count of ; when Future was relaunched, still as a pulp, in , the page count had dropped again, to Both Future and Science Fiction Stories were pages long when they changed to digest format; Future remained at that length, but Science Fiction Stories switched to pages for nine issues, from January to May The sequence of title changes for the two magazines is summarized below.

For Science Fiction : [3] [notes 3]. Note that although the cover read " The Original Science Fiction Stories " for much of the second run, the title was always " Science Fiction Stories ", though some reference books index the magazine under "O". Louis Silberkleit was the publisher of both magazines throughout their existence, but he changed the imprint he used for them twice.


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Starting with the March issue of Future , and the March issue of Science Fiction , the magazines were published by Double Action Magazines , with offices in Chicago. A Canadian edition of Science Fiction ran for 6 pulp-sized issues of 64 pages from October to June , priced at 25 cents; it was intended to be monthly but there were no issues in December , or in April or May The publisher was Superior Magazines of Toronto for the first two issues, and Duchess Printing of Toronto for the remaining four.


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A different editor, William Brown-Forbes, was listed, but the fiction was all reprinted from Silberkleit's U. The artwork was new, however, with covers by John Hilkert and Edwin Shaw, among others.


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They were 96 pages, in pulp format. The first 11 of these reprints were cut versions of the U.