Once Upon a Future: The Third Borgo Press Book of Science Fiction

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In other projects Wikimedia Commons. This page was last edited on 1 October , at By using this site, you agree to the Terms of Use and Privacy Policy. Sundell, but Sundell knew little about sf and did not get involved with running the magazine. The schedule was intended to be bimonthly, but it began to slip immediately, with the second issue dated June In order to spread his costs over more magazines, Silberkleit soon decided to launch two additional titles. Gernsback eventually chose " Amazing Stories " instead, and Silberkleit now decided to use his original suggestion for one of the new magazines.

Hornig was editor for all three magazines. In October , Hornig received his military draft notice ; he was a pacifist , and decided to move to California and register as a conscientious objector. He continued to edit the magazines from the west coast, but Silberkleit was unhappy with the arrangement. Silberkleit allowed Hornig to retain his post as editor of Science Fiction , and offered the editorship of the other two titles to Sam Moskowitz.

Lowndes to write to Silberkleit.

Lowndes later recalled Wollheim's idea: Lowndes subsequently agreed that this was likely to be the real reason Silberkleit replaced Hornig. The changes included the replacement of Fantasy Times , a fan department by James Taurasi, with Futurian Times , a similar department from a rival group of fans, the Futurians , to which Lowndes belonged. Science Fiction was not selling well, and later that year Silberkleit merged it with Future Fiction , [8] under the title Future Combined with Science Fiction.

Silberkleit was forced to cut some of his titles because of wartime paper shortages, and he decided to retain his western and detective magazines instead. In , Silberkleit brought back Future , under the title Future Combined with Science Fiction Stories ; this allowed Silberkleit to keep the rights to both the titles.

Another issue with the same format and title followed in the spring of , also unnumbered. The first issue in the new format was dated January , and in response to reader feedback the title was changed to Science Fiction Stories.

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The volume numbering was continued from the existing Future volume numbering, despite the fact that the title was taken from Science Fiction , the earlier magazine. Since Science Fiction Stories was using the volume numbering from the previous pulp-format incarnation of Future , Silberkleit switched to an issue number format, with no volume. Both Science Fiction Stories and Future Fiction were able to maintain a fairly regular schedule through the rest of the s. 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!

Really, I don't see why science fictionists, who can absorb alternate time tracks etc.

Once Upon a Future: The Third Borgo Press Book of Science Fiction

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: 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. 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.

Once Upon a Future, edited by Robert Reginald (ePub/Kindle)

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". 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.

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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. Dick's novel of the same name ; Clifford D.



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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. 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.

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