ZNAK SAGITE — više od fantastike — edicija, časopis, knjižara...

Dear Mr. Campbell:

I have enjoyed Analog for several years. Although I haven't always agreed with your editorials, they have been interesting, stimulating, and logical.

The article "Giant Meteor Impact" in your March, 1966 issue has started me thinking. An article "Tips and Trends," in the November, 1965 issue of Science Digest, quotes a Smithsonian Astrophysical Observatory scientist as saying: "An asteroid named Icarus could collide with the earth on June 15, 1968."

I wonder if the author, J. E. Enever, could give a statement re the collision of Icarus with Earth.

TOM VISHER

1514 Belleau Wood Tallahassee, Florida




. . . A question




Dear John Campbell:

Thank you for passing on the letter from Tom Visher. Icarus is, of course, only one of a dozen or more asteroids which trespass on the inner solar system. The planets have been vacuum cleaning—or better, fly-swatting—space clean for five billion years. See the face of the Moon and the Mariner IV pictures for proof. But the known dozen must be only a small fraction of the true total number of strays.

We don't know the orbits of these mavericks with the same accuracy which applies to the fixes on the major planets. For example, 6,000 years of observation has enabled us to fix the length of the Martian year to better than six decimal places. We even know the length of the Martian day to a split milli-second; it is somewhat as if you found the rate of a good watch by letting it run unaltered for years, checking it daily against the radio time-signal. After a decade you would know the daily loss or gain to a very high degree of accuracy.

We have only been watching the maverick asteroids for half a century or so at most. They are small, and even the long eyes at Palomar and elsewhere lose sight of them: they cannot be checked all the way round their orbits. So we tend to lose them altogether. The stray which wandered closest to Earth was Hermes, in about 1937. Its year is less than that of Mars, and it came within a quarter million miles of Earth—but it hasn't been spotted since the war.

The orbit of Icarus is better known than most. Dr. R. S. Richardson was its co-discoverer. He told about it in an article in Scientific American last year—October, I think; sorry not to be more precise, but I don't file this venerable journal, since the wife makes ructions enough about those piles of "Astounding". Richardson's article is worth digging out: the position seems to be that the orbit of Icarus is so sharply inclined to that of Earth as to make it unlikely that any collision will occur in the next few foreseeable megacenturies. This does not argue that there are no asteroids in circulation which can and therefore inevitably will eventually collide with the Earth. Operation Fly-swat is not complete.

Mark you, the lack of not merely exact knowledge but even of well-computed guesstimation on the origin of the meteorites is little short of scandalous. When that ten-mile diameter radio telescope is orbited, its first job should be an accurate census of interplanetary and interstellar debris. At present, the Late Lamented Planet V seems to be a good bet for the origin of many meteors. But Earth also possesses a halo of comets extending halfway to the nearer stars which must make some contribution.

Nor may we ignore the lively possibility that rare large bodies may track in with the smaller stuff which does zip in from the galaxy at large. This may travel at more than 200 km. per second . . .

This sets me wondering. The Tunguska meteorite in 1908 flattened a 60-mile circle of forest, yet caused no substantial crater. Could this have been something other than a thousand tonner hitting the deck at 30 to 40 km. per second? Suppose it were a hundred tonner, a ball less than 14 feet in diameter, moving ten times as fast. Such a body would carry ten times the punch of the heavier but slower job. Let me see—at over 300 km. per second, the total energy would be well up in the megaton range. Depending on the angle at which it ploughed in, might not such a strike vaporize before it had quite reached the ground? Most of the energy would emerge as plain old ordinary electro-magnetic radiation—in the ultra-violet and X-ray spectrum. . . so far as I can see, the energy transformed into radiation will vary as the eighth power of the speed. .. the possibility definitely deserves examination. A nickel iron a mere hundred yards or so across travelling at 300 k.p.s. would carry IV ergs . . . Cor! ! !

Joe Enever





And some answers.






Dear Mr. Campbell:

Re: "Drifting Continents" by Dr. Robert S. Dietz in the April Analog.

Near the end of the interesting article Dr. Dietz invokes possible negative evidence in support of the theory discussed. This evidence is concerned with the Moon, Mars, and Venus. Should he not look for positive evidence in the planet Jupiter? It is my understanding that huge drifts of quite organized reflectivity (Great Red Spot, et cetera) take place on the visible surface of Jupiter. These drifts take place in years, not centuries or mega years. Being so huge Jupiter must be relatively much more fluid relative to its own gravity than the minor planets. This is without invoking square vs. cube law concerning internal heat due to radioactivity and all that jazz.

Take the limit: The surface of our best little star Sol, is apparently a panic from an earth-bound geological time point of view. Big things happen in minutes there.

It is probably more important for you to know that the April issue of Analog is an absolute dandy, one of the best ever.

HAROLD HALVERSEN

1919 East West Hwy.

Silver Spring, Md.



Under the pressures involved inside the Earth, the materials act as fluids. True, Jupiter's visible surface, and the Sun's are gaseous—but gas is fluid, and the major difference may be time-rate rather than anything else—tar is a liquid.

 :D

elem, ovaj mali Q&A je iz Analoga 02/10/1966.

Kempbel je, naravno, tu "at his best" genijalno zabavan, pa eto... da malko privirimo u zeitgeist.  :)

sledi njegov uvodnik iz istog broja:

THE ANCIENT GODDESS

Editorial by John W. Campbell



It has been recognized, since the most ancient times, that the ruler of luck is a Goddess—female, fickle, unpredictable, whimsical, and capable of cruelty and favor with equal irrationality.

NASA has just been experiencing the left-handed blessings of Lady Luck, and, simultaneously, the warm and winning smiles of The Lady. And anybody who tries to sell a NASA scientist on the fact that this world is run entirely by purely rational and simply predictable Laws —that Lady Luck doesn't live in space as well as on Earth—is going to have trouble putting over his point.

Atlas-Agena vehicle combinations are among the most reliable, dependable devices men have yet developed for space exploration. That's why the Atlas-Agena combination was picked for the space-rendezvous and docking maneuvers programmed for the Gemini 9 flight.

So when one after another of their Agena space-docking targets had flubbed, gone wild, and generally misbehaved—they gave up and sent up a gadget originally intended more for use as a mock-up than as a docking target—the ADTA.

That they succeeded in getting into orbit.

Then Gemini 9 was all ready for launch, countdown reached one minute, forty seconds before takeoff . . . and stopped. The computer in the first-stage booster had decided it knew all it needed to know, and wasn't interested in the latest data on where its target vehicle was. Three times they tried to up-date its data—while the five minutes of the launch-window slipped by.

By this time Astronauts Stafford and Cernan had been up and down on that launch-tower elevator so many times they must have been about ready to rename the project Yo-Yo 9 instead of Gemini 9. Stafford claimed he had more launch-pad time than any man in spaceflight history.

The problem of the computer that couldn't digest its data turned out to involve two logic modules; it was fairly simple to plug in a couple of replacement units in time for the retry two days later.

Again the two astronauts suited up, rode up in the tower elevator, crawled into the Gemini capsule . . . and waited.

This time Gemini 9 got a perfect launch, went into the assigned orbit perfectly, and successfully caught up with its target—which turned out to be the henceforth-and-forevermore famed "Angry Alligator". The two half-shell epoxy-fiberglass shroud shields hadn't detached from the target vehicle as per specifications. Moreover, they refused to detach—and made any docking tests impossible.

Since that shroud device was designed to stand up to plowing its way through the atmosphere at a couple thousand miles per hour, it had had to be tough—a 300-pound structure of epoxy-fiberglass can be far tougher and stronger than an equally massive structure of aluminum or stainless steel—it's nothing to fool around with when you're in a fragile shell of titanium skeleton and beryllium "shingles"—and the only habitable volume of space you can possibly reach.

So they had to give up on the docking, and go on to the spacewalk tests.

And that, of course, didn't come off quite right either. Oh, most of it was pretty successful—but the test of the individual astronaut backpack maneuvering unit was a complete bust, because the communication system didn't work properly, and something seemed to be wrong with the oxygen supply system.

Perhaps at this point it was best that Cernan's communication came through only as a grunting gargle; he would have had reason for nonbroadcastable comments on the nature and antecedents of Lady Luck.

Gemini 9 was the thirteenth manned space capsule. Thirteen things went wrong.



Now intermeshed with this whole fiasco was another space-research project—Surveyor I was launched before the Angry Alligator was, and was in flight on its way to the Moon while Gemini 9's computer hiccuped and spit back the up-dated data. It was cruising on toward Luna while Stafford and Cernan had to crawl out of that capsule again, and go back down on the elevator.

While Cape Kennedy and the Houston Manned Space Center were sweating out the problem of why the blasted contraption had refused to accept the data—the Jet Propulsion Laboratory, and the Goldstone Tracking Center out in California were sweating out the landing of Surveyor I, 238,000 miles away.

Surveyor had taken off only three years behind schedule; the Planning Department of NASA somehow seemed to have got its foot in its mouth, its fist stuck in its ears, and its mind in a dense California smog. The Surveyor program had demonstrated one of the high points in fouled up bureaucracy of all time. If any program deserved to achieve a complete and total bust for Ingrained Confusion—Surveyor was It.

On the other hand . . . maybe the bureaucrats were so busy crossing each other up they were too busy to interfere with what the engineers on the job were doing?

In any case, Surveyor I got off to a perfect launch shortly before the Angry Alligator went into orbit, and headed for the Moon on exactly the calculated orbit.

There was one slight—and extremely worrisome—hitch; Surveyor had two extensible antennas, which were to erect themselves once the machine got out into space, beyond atmosphere resistance. One of the two did; the other didn't extend itself properly. Since the two were each capable of handling the full load of radio communications, electronically this was no problem. But from the viewpoint of the laws of mechanics it could be disastrous.

The problem is equivalent to that of the ice skater who's doing one of those fancy pirouettes. She extends her arms, and kicks herself into a spin on one toe, then draws her arms into her sides; conservation of angular momentum then makes her spin three to five times as fast because of the drastically reduced radius of rotation.

Surveyor's radio antenna that was not extended did not have the same angular momentum the one that was extended did—nor did it have the angular momentum their calculations were based on. Moreover, the center of gravity was not where they'd designed it to be. What would Surveyor do when they called for its mid-course maneuver—and when the powerful thrust of the soft-landing retrorocket cut in? Tip? Wobble? Go into a tumbling spin?

The only thing they could do was go ahead and hope.

The midcourse maneuver was ordered—and Surveyor responded with perfect precision. It oriented itself properly on the Sun and Canopus and Earth, turned precisely the number of degrees ordered, yawed precisely as commanded, and thrust with exactly the required force for the computed time.

It was about 1:45 a.m. Eastern Daylight Time when the Moment of Truth for Surveyor I really began; the orders for the soft landing on Luna began to go out from the great Goldstone Tracking facility. The roll, yaw, and roll maneuvers necessary to align Surveyor's thrust-axis with the Moon were made with perfection. The altitude sensing radar was activated—the flight-mode control circuits were activated. As each command went out from Goldstone at the speed of light, Surveyor faithfully reported back the computer-language equivalent of, "Roger; command received and executed," two and two-thirds seconds later.

Surveyor came closer to being a true science-fiction style robot than anything we'd launched before; it could accept and carry out over two hundred fifty different commands. Since it was operating at a distance so great commands from Earth were necessarily 1.3+ seconds delayed in transit, control from Earth would have been impossible. Surveyor had to control its own landing.

Now so far as determining the angle of descent was concerned—that was simply a problem in celestial navigation. The problem of measuring the speed of descent wasn't too tough; Doppler radar could handle that fairly well. But the problem of altitude was a very nice one; as of 2:15 a.m. that morning, we did not know the radar-reflection characteristics of that area of the Moon's surface. Suppose there was an area of some dusty material that was radar-black—that soaked up radar beams the way a mass of carbon black would soak up a light beam. No reflection—no radar echo—no measure of altitude.

Or suppose there was a fifty-foot depth of something that was quite transparent to radar overlying a layer of solid igneous rock. The altitude over the radar-reflecting surface would be read accurately—which wouldn't do much good for Surveyor, crashing into a solid-but radar-invisible surface fifty feet above it!

At a time some two seconds short of the calculated time for activating the main retro-engine, the JPL crew gave Surveyor's on-board control system complete control of the landing maneuver. During the next few seconds, naturally, they sweated copiously—but some 2.6 seconds after the rocket should have turned on, Surveyor reported back in clear computerese, "I have reached the predetermined altitude, and have activated my retro-engines for landing. The main solid-fuel retrorocket, and all three vernier engines are thrusting properly."

Now came the tension as to whether that unbalanced, unextended antenna would make Surveyor go into a fatal tip, tumble, or wobble.

The three vernier engines had as a major part of their function correcting for any slight unevenness of thrust of the main solid-fuel engine; apparently Surveyor's on-board control system and inertial guidance mechanisms sensed any imbalance the antenna did produce, and simply so controlled its vernier engines as to cancel it out perfectly.

At 2:17 a.m., Surveyor touched down on the surface of the Moon. It touched down so gently that the special shock-absorbing crushable foot-pads weren't crushed. The computed target touchdown speed was to have been 12 ft./sec.—the actual touchdown speed was 13 ft./sec. The target-area on the Moon's surface was reached with such accuracy that the discrepancy was measured in feet rather than miles.

Within a few minutes, Surveyor started obeying Goldstone's commands to start about the business of surveying the lunar surface; in every possible respect the machine was behaving with perfect precision. Even the incompletely extended antenna had been jarred sufficiently by the added G-loading as the main retrorocket fired that it extended itself fully!

Unlike any previous television camera probe, Surveyor was designed for a long-continued series of observations; the TV camera was equipped with a complex system of Earth-controlled adjustments. The camera had a zoom lens, which allowed the men at Goldstone to change the focal length at will; the lens could be focused from four feet to infinity, and the lens diaphragm could be opened or closed down by command from Earth. Moreover, the camera itself could be swiveled through 360°, while the mirror by which it looked around could be controlled to allow it to look at the zenith, or down at its own feet. The camera could, in addition, be switched to a 200-line scan or to a 600-line scan. The 200-line scan allowed transmission of picture signals with lower power—the mode used immediately after Surveyor landed, before it had had time to erect its "sunflower"—the spread of solar cells would gather enough power to charge its batteries.

Every single function of Surveyor I performed to perfection. Every single mechanism and circuit did precisely what the engineers had planned that they should do if everything went well.

The first picture Surveyor sent was one of the most crucial of the whole series—the one picture which would, even if it had been the only picture Surveyor had ever sent, have been a full pay-off on the entire project. It was simply a picture of Surveyor's own foot-pad sitting firmly on the surface of the Moon. On, not in. That one piece of information was worth millions to the whole space program. Surveyor's "flotation loading" in terms of pounds per square foot of supporting pad, was designed to equal the planned flotation loading of the LEM—the manned Lunar Excursion Module. In almost every respect, Surveyor was designed to be a model, unmanned equivalent of the LEM.

Since that first photograph from the surface of the Moon, Surveyor has been sending them at a rate of a couple hundred every night.

Goldstone's tracking facility is the only station adequately equipped to command and receive information from Surveyor; therefore Surveyor is busily working during the hours that the Moon is above the horizon as seen from Goldstone, but is quiescent during the rest of each Terra-Lunar day. (Which is not quite the same length as the solar day, due to the Moon's orbital motion around Earth.)

Surveyor was landed on the Moon in an area that was in the "early-morning" phase of the lunar day—the result is that there will be some twelve days of sunlight in Surveyor's environment before the night-phase settles in. They have already got hundreds of pictures of the surface appearance around Surveyor, under the long, slanting rays of early morning sunlight. During the hours Goldstone can't contact Surveyor, sunlight is busily charging the storage cells on board Surveyor. (Presumably they're nickel-cadmium storage cells; the Ni-Cd cells can endure more heat than almost any other type, and can stand more cycles of charge-discharge than any other type of sealable cell.) Surveyor has a main bank of storage cells and an auxiliary battery—whether the auxiliary battery was a rechargeable type, or a high-intensity primary cell type, isn't stated as yet.

By local noon, the sunlight temperatures are going to be too high for operation of the electronic equipment; most of the silicon semiconductor devices—transistors, diodes, field-effect transistors, voltage-variable capacitors, et cetera—can be operated at temperatures up to about 155°C.

The Texas Instrument Co. makes a series of transistors (and presumably other silicon semiconductors to match) with a "storage temperature" rating of —195 to + 300°C.

What this means is that a semiconductor device may be able to stand up to 300°C. provided it isn't, at the same time, being made to control an electric current—i.e., it can't operate at 300°C., but can survive in operable condition.

The temperature on the surface of the Moon at local noon runs to about 250-275°C.; the high-temperature silicon semiconductors can't be used while they're being baked at that temperature, but after noon-local, the temperature will begin to fall off as the Sun's rays begin to slant more. As the temperatures get down, the electronic equipment can be put to work again.

Then the entire series of pictures taken by the long, slanting rays of the morning sun can be repeated with the slanting afternoon illumination, making possible a far greater amount of data and understanding of the objects pictured.

One thing I'm extremely curious about, however; the Ni-Cd cells can stand more heat than any other type of sealable storage cell—but they do use a water-solution electrolyte, and if the batteries get up to some 250° C. it'll take some fancy pressurization to keep the electrolyte from baking out! I know they've done some slightly miraculous things in the way of cryogenic storage systems that are so well insulated that a 20-liter liquid helium flask can be used to store the liquefied stuff at 4°A. for a week or so. Maybe they can keep a battery bank in a sort of cryogenic insulated tank that's insulated well enough to keep it from boiling over during a several-days exposure to the unshielded noon sun on the Moon. But it'll be a good trick!

However—Surveyor paid off with the very first photograph it sent back. (And for a long-time sciencefictioneer, those shots appearing on the TV set screen with the label "Live . . . from the surface of the Moon" were a kind of pay-off too! And the shots of the JPL lab control center, and of the Goldstone Tracking equipment were obviously movie sets made up from our April 1946 cover for George O. Smith's "Pattern for Conquest"!)

The absolute and total success of Surveyor seems to me to have been about equivalent in probability to the poker player who successfully draws to an inside open in a royal straight flush.

The United States can well claim to have done a magnificent job of designing and constructing some highly sophisticated and astonishingly competent space equipment. And it's obviously true that luck doesn't happen to people who don't do a lot of hard work preparing for it to happen.

But . . . well, let's be reasonably honest.

Surveyor I's incredible success was a Royal Straight Flush sort of hand. We were lucky beyond any rational prediction.

Coming as it did right smack in the middle of the most thoroughly lucked-out space mission we've attempted—the repeated Gemini 9 breakdowns—we really can't claim to be quite as good as Surveyor I would seem to indicate.

And I can't help having a certain amount of wry sympathy for the unfortunate, hard-luck cases in the Russian Space Agency in charge of their soft-landing Lunar probes. Their Lunas #1, 2, 3, et cetera, were duds. They finally did make the first soft-landing on the Moon, had the British steal some of their thunder by releasing the Russian moon-probe pictures before they did, and got nine critically important pictures from the lunar surface before their gadget quit.

There's no argument; the Russians were first to get photographs from the Moon's surface.

But—the first-try absolute success of Surveyor I is a little hard to take. And that it isn't a basketball size gadget that "soft" landed at a couple hundred kilometers per hour, but an immense, complex, highly responsive robot that could have landed a cargo of eggs without cracking a shell, and that it's sent hundreds of magnificent photographs, scanning in all directions on command—well, if you were one of the Russian engineers, wouldn't you feel Lady Luck was anything but a lady?


—The Editor.

Astounding, august 1938.  :)


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Editorial prvog Astounding Stories of Super-Science (izraslog kasnije u Analog, jelte) iz januara 1930.

Introducing—

                        ASTOUNDING STORIES



           What are  "astounding" stories?
           Well, if  you lived in Europe in 1490, and someone told you the earth was round and moved around the sun —that would have been an "astounding" story.
           Or if you lived in 1844, and were told that some day men a thousand miles apart would be able to talk to each other through a little wire—or without any wire at all--that would have been another.   
           Or if, in 1900, they predicted ocean-crossing airplanes and submarines, world-girdling Zeppelins, sixty-story buildings, radio, metal that can be made to resist gravity and float in the air—these would have been other "astounding" stories.
           To-day, time has gone by, and all these things are commonplace. That is the only--real difference between the astounding and the commonpIace--Time.
           To-morrow, more astounding things are going to
happen. Your children—or their children—are going to take a trip to the moon. They will be able to render themselves invisible—a problem that has already been partly solved. They will be able to disintegrate their bodies in New York and re¬integrate them in China—and in a matter of seconds.
            Astounding? Indeed, yes.
            Impossible? Well—television would have been impossible, almost unthinkable, ten years ago.
            Now you will see the kind of magazine that it  is our pleasure to offer you beginning with this, the first number  of ASTOUNDING STORIES.
            It is a magazine whose stories will anticipate the super-scientific achievements of To-morrow—whose stories will not only be strictly accurate in their science but will be  vividly, dramatically and thrillingly told.
            Already we have secured stories by some of the finest writers of fantasy in the world—men such as Ray Cum- mings, Murray Leinster, Captain S. P. Meek, Harl Vincent, R. F. Starzi and Victor Rousseau.   
            So—order your next month's copy of ASTOUNDING STORIES in advance !


                                                                                                   —The Editor.         

Iz 1952.

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I sadržaj

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Iz 1952.

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Iz 1951.

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Iz 1944.

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Moze li se ovo negde naci u elektronskom formatu? 

Oktobar 1941.

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Ilustracija iz februarskog (1940.) izdanja istog magazina

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April 1939.

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E ovo je iz jula 1948.


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Quote from: Karl Rosman on 15-01-2011, 01:05:09
Moze li se ovo negde naci u elektronskom formatu?  

Počelo dosta toga na Gutenbergu da se pojavljuje, zbog datuma već odlazi u public domain - a što se tiče nezavisnih skenera entuzijasta ovaj (http://cosseyedcyclops.blogspot.com/2010/01/and-now-we-have-galaxy-science-fiction.html) je dobar. (Na linku je post sa linkovima ka rapidšeru za skenirane Galaxy časopise, a evo (http://cosseyedcyclops.blogspot.com/search/label/Astounding%20Science%20Fiction) nađoh i Astounding). Bio je i neki ogroman torent sa hrpom tih palpova prastarih, pogledaj malo po pretraživačima.
Inače, ovaj (http://variety-sf.blogspot.com/) lik detaljno prati i prikazuje sve živo od besplatnog kratkog SF-a što se pojavi na webu, uglavnom tog prastarog.

A evo ovde (http://www.sfcovers.net) ima sistematizovana arhiva korica palp SF časopisa - nije apdejtovan nekoliko godina, pa sam ga mirorovao na hard disk, ako ispari...

Našo još jedan: Amazing (http://sfmagazines.blogspot.com)

Edit: nešto ne umem sa ovim tagovima...

Salji tagove na pm!  xcheers Mada iskopao sam vec vecinu... :)

Novembar 1939.


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 Naš Gaff je veliki poklonik rane faze SFa...  :)
(a ko i ne bi bi naklonjen tako šarmantnom detinjstvu genijalnog žanra.  :D)

A kad smo već kod šarma, da se i ja ubacim sa jednom od najdražih mi žanrovskih palp uspomena iz detinjstva:

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Da, da... Kosmički Putnici  :oops: :mrgreen: :!:

Priznajem da mi interpretacija kroz strip nije baš najbliža forma komunikacije, ali sa ovim stripom sam se "pronašla" s onom vrstom lakoće zbog koje čovek ceo život nastavlja da juri žanr i pored svih njegovih 99% mana, sve se nadajući da će opet naići na jedan od takvih tektonskih susreta kojima se inače tepa "ljubav na prvi pogled".   :|

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I pošto ja ama baš ništa o stripu ne znam, mogu samo da iznesem par subjektivnih zapažanja o ovom stripu konkretno, to iz striktno laičke perspektive jednog krajnje pristrasnog konzumenta: genijalan mi je, eto. I danas, ne samo onda: genijalan mi je taj crtež, tako maštovit i pun finesa, genijalan mi je taj ozbiljni pristup neozbiljnoj temi, genijalna mi je sva ta pažnja posvećena detalju, fantastičnim pejzažima i sporednim likovima, genijalna mi je spejs-opera ljubavnog četverougla (mehmeh, 3 žene i jedan muškarac), genijalna mi je i melodrama trivijalne karakterizacije u ekstraneobičnim okolnostima... ma, sve mi je u stripu genijalno.  xrotaeye :lol:

(Eto, možda mi brat Muhamed kaže par suvislijih reči o ovom dragulju... tek da shvatim kako me je to strip kupio na ovako duuuge staze... :))
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(Ah, aj am silisili grl samtajmz...  :cry: :!: :!:)

Kad smo već kod početaka, jedan od mojih omiljenih ranih autora je Stanley G. Weinbaum i njegova knjiga

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Praktično nepoznat kod nas. Samo su u Hrvatskoj objavljene njegove dve priče "A Martian Odyssey" 7/34 Wonder i "Valley of Dreams" in 11/34 Wonder. Da li ima još nešto ne znam. Živa šteta što je tako rano umro...

Ima ga i u podosta Astounding-ova.

Jedan od najpoznatijih, najznačajnijih, najvoljenijih, najčitanijih i najsvestranijih bardova SF žanra nudi par zapažanja na brainpickings.com:


"Once we have computer outlets in every home, each of them hooked up to enormous libraries where anyone can ask any question and be given answers, be given reference materials, be something you're interested in knowing, from an early age, however silly it might seem to someone else... that's what YOU are interested in, and you can ask, and you can find out, and you can do it in your own home, at your own speed, in your own direction, in your own time... Then, everyone would enjoy learning. Nowadays, what people call learning is forced on you, and everyone is forced to learn the same thing on the same day at the same speed in class, and everyone is different." ~ Isaac Asimov


Isaac Asimov (http://www.youtube.com/watch?v=1CwUuU6C4pk#)

Najbolji komentar na youtube-u :)

Quote

check those glasses.  asimov was totally an original hipster.

Drugi deo, gde govori o obrazovanju, mi je najbolji.

Quote from: Lidija on 30-01-2011, 12:53:50

Jedan od najpoznatijih, najznačajnijih, najvoljenijih, najčitanijih i najsvestranijih bardova SF žanra nudi par zapažanja na brainpickings.com:


"Once we have computer outlets in every home, each of them hooked up to enormous libraries where anyone can ask any question and be given answers, be given reference materials, be something you're interested in knowing, from an early age, however silly it might seem to someone else... that's what YOU are interested in, and you can ask, and you can find out, and you can do it in your own home, at your own speed, in your own direction, in your own time... Then, everyone would enjoy learning. Nowadays, what people call learning is forced on you, and everyone is forced to learn the same thing on the same day at the same speed in class, and everyone is different." ~ Isaac Asimov


Isaac Asimov (http://www.youtube.com/watch?v=1CwUuU6C4pk#)

Ovo je sjajno. Naročito zapažanje koje je Lidija citirala. Maslov i još neki psiholozi upravo govore o tome da je školovanje forsiranje pojedinca u šablon, da je to možda najveća stvar tokom odrastanja koja ubija kreativnost kod pojedinca. Sjajno.

Wonder Stories, Septembar 1930.

("The Magazine of Prophetic Fiction")



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Ilustracija, Wonder Stories, decembar 1930.


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Ilustracija priče "The Time Tragedy" Raymond A. Palmera, Wonder Stories, decembar 1934.



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U poslednjem UBIQ-u, br. 7, ima zanimljiv tekst Darka Suvina "Weinbaumovi znanstveno-fantastični tuđinci kao nedarvinističke parabole"

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Fantastic Universe, Novembar 1955.


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Ovo je deo Heinleinovog članka ("Where to?"), objavljenog februara 1952. u Galaxy Science Fiction-u.

"...the curve of human achievement."


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Editorial prvog broja magazina Science Fiction, mart 1939.




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Galaxy Science Fiction, oktobar 1952.



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Žurka na nivou! Ko prepozna Asimova, častim ga/je pivom oktobra 2052.

U međuvremenu...

http://www.lettersofnote.com/2011/03/birth-of-steampunk.html (http://www.lettersofnote.com/2011/03/birth-of-steampunk.html)

Eto, da znate ko je ko.

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Čoveče... nisi nikom dao šanse ni pivo da zaradi...  :lol:

Ja sam prepoznao Bočka!

Galaxy Science Fiction, jun 1951.


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Galaxy Science Fiction, novembar 1952.


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(desi se i najboljima)

Misliš "ISSAAC"  :)

BTW, kakva je ono petokraka? Specijalno komunističko izdanje?

Quote from: Mica Milovanovic on 09-03-2011, 10:02:53
Misliš "ISSAAC"  :)

Da, ISSAAC. Mada, možda i nije greška nego je neko predvideo budući naziv Međunarodne Svemirske Stanice (kada je već nešto slično i na naslovnici).

Malo rane erotike u SFu

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Lep primer za to koja im je bila ciljna grupa. Nije to bilo retko.

U detektiv/horor-palpu je toga bilo čak i ranije, češće i "tvrđe". Prikladno, naravno, vremenu. Evo recimo, klasična sado-scena s naslovnice iz aprila 1938.


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If, januar 1953.



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http://geektyrant.com/news/2011/3/9/7-old-school-sci-fi-movie-posters-that-sold-for-2-million-bu.html (http://geektyrant.com/news/2011/3/9/7-old-school-sci-fi-movie-posters-that-sold-for-2-million-bu.html)

Fred Pohl o Alfiju Besteru (http://www.thewaythefutureblogs.com/2011/03/alfie/)

Galaxy Science Fiction, januar 1952.



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hvala na naslovnicama i sajtovima

MICI >> stvarno je steta sto se Weinbaum nije vise prevodio (njegov pandan, barem kada je u pitanju rana smrt istancanog autora, slobodno moze biti C.M. Kornbluth: samo sto ipak moram reci da je Kornbluth osjetno bolji autor): evo jos par stariteta za razmatranje, sa zbilja izvrsnim pricama/romanima: Algis Budrys (price i romani Michaelmas i Rogue Moon) i William Tenn (price i roman Of Men and Monsters) iznenadili su me originalnoscu svojeg pristupa nekim stvarima. 

Inace, zbilja dosta toga golden age-ovskog i pre-golden age moze se zateci u izvrsnim Asimovljevim antologijama BEFORE THE GOLDEN AGE i THE GOLDEN AGE. Ko ima mogucnosti, citav komplet se za bagatelu moze naruciti sa used-books sajtova (broji vise od 10 knjiga). Mnogo pomazu i ova kabasta NESFA-ina izdanja koja izbacuju komplet price mnogih dobrih starih, zaboravljenih autora. A must-have.   

Btw, da li neko zna dokle su Hrvati stigli sa Sterndzenovim pricama? Ja imam II i III knjigu. Ostatak sam morao nabaviti iz USA. Da li su oni ikada isli preko toma IV koji je najavljen u III knjizi? 


U ovu svrhu, valjalo bi na ovom mjestu postovati pojedine segmente .doc-ovanih skenova knjige NEW MAPS OF HELL (1960) Kingslija Ejmisa, jedne od prvih ozbiljnijih studija o poslijeratnom SF-u (primjerak te knjige, iz nekog razloga, sve je skuplji u polovnom formatu). U to vrijeme izgledalo je kao da SF knjizevnost propagira jedan Apdajk ili Belou. Mnogo dobrih uvida, ali od izuzetno inteligentnog covjeka koji SF cijeni najvecma zbog svojeg kvaliteta/poriva da zabavi.

S druge strane, Ejmis se jezio od evolucije koju je SF dosegao u tzv. New Wave fazi: on je cijenio samo stare vrijednosti (nije postovao literarna poigravanja sa bilo cime), a polemicka dostignuca ovoga pokreta skoro nimalo.

Docnije je Ejmis sa cuvenim britanskim sovjetologom i svojim velikim prijateljem, Robertom Conquestom, izbacio 5 tomova odlicne SF antologije SPECTRUM (od 1961, pa nadalje), koja je samo pomogla da se u ono doba krene sa daleko znacajnijim SF antologijama. Cak to potvrdjuje i Nicholls u Enciklopediji – na neki nacin, Ejmis je pomogao da SF prohoda i zadobije nesto znacajniji status u ondasnjem svijetu ([New Maps of Hell] "which was certainly the most influential critical work on sf up to that time, although not the most scholarly").

+ Drugo pitanje: Da li neko uopste zna gdje su se pogubili svi oni neprocjenjivi, fascinantni listinzi sa Locusa koji su mi nekada odmah ispadali na prvoj strani kada bih guglovao neku SF antologiju ili zbirku, bilo sta zanrovsko? Nije to valjda negdje sklonjeno i treba vam specijalni pristup? Najednom mi je postalo ekstremno tesko da ih pronadjem, mada, opet, nikada nisam bio ekspert za pretrage.   


Dabome, za kraj, kao slag na tortu, prilazem odlicnu knjigu jednog od, uz Zizeka, najvecih [marksistickih] teoreticara danasnjice Frederika Dzejmisona, o utopiji u SF zanru iskazanu kroz svojevrstan politicki svjetonazor [odlicno koriscenje motiva iz radova K.S. Robinsona, Filipa Dika i Olafa Stejpldona, izmedju ostalih], nesto sto bi trebalo odmah prevesti, da je srece... Vrijedi svake pare koju izmuze iz vas. A od nedavno i na Netu!

Hocu reci, ima smisla kada velikani poput Dzejmisona i Ejmisa pricaju o ovome zanru, kakav god kontekst tom prilikom da odaberu, ako shvatate sta hocu da kazem.   

Archaeologies of the Future (Poetics of Social Forms)
By Fredric Jameson

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    * Publisher:   Verso
    * Number Of Pages:   480
    * Publication Date:   2005-10-17
   

Product Description:

In an age of globalization characterized by the dizzying technologies of the First World, and the social disintegration of the Third, is the concept of utopia still meaningful?

Archaeologies of the Future, Jameson's most substantial work since Postmodernism, Or, the Cultural Logic of Late Capitalism, investigates the development of this form since Thomas More, and interrogates the functions of utopian thinking in a post-Communist age.

The relationship between utopia and science fiction is explored through the representations of otherness—alien life and alien worlds—and a study of the works of Philip K. Dick, Ursula LeGuin, William Gibson, Brian Aldiss, Kim Stanley Robinson and more. Jameson's essential essays, including "The Desire Called Utopia," conclude with an examination of the opposing positions on utopia and an assessment of its political value today.Archaeologies of the Future is the third volume, after Postmodernism and A Singular Modernity, of Jameson's project on the Poetics of Social Forms.


http://megaupload.com/?d=4QLPO3CI

  password: ebooksclub.org

Ne znam za Sterdžena u Hrvatskoj, ali i ja mislim da su samo tri objavljena. Mogu da proverim za desetak dana kad odem tamo. Stalno sam izbegavao da ih kupujem, jer su prilično skupe, a više me zanima savremena Hrvatska scena, pa ne može sve da se postigne - ni materijalno ni da se pročita. Možda ću sada ipak da vidim da kupim ako je nešto od toga ostalo. Kapitalan projekat, pa treba poštovati.

Weinbaum je, naravno, mnogo zanimljiviji sa istorijskog stanovišta, nego kao pisac. Ipak, ima nešto u njegovom načinu pristupa svetu što mi se sviđa. Šteta što je tako rano umro.

Za Locus možda Melkor zna? I ja sam ti duduk za pretrage.

Hvala za Jamesona. Još da nađem vremena da pročitam  :(

Ne bih znao, sadrzaje novijih antologija nalazim uglavnom na SF signalu i... naokolo. Starije bas dugo nisam trazio. Iz postavke pitanja vise mi deluje da je problem do Googla, ne do Locusa. Mozda traziti direktno na Locusovom sajtu?

Vacation in the Golden Age of Science Fiction (http://www.jamierubin.net/misc/vacation-in-the-golden-age-of-science-fiction/)

Follow along in my vacation through the Golden Age of science fiction. Below is a list of all of the issues of Astounding I am collecting and reading through. Each Episode in my vacation represents one issue.  Dates in red indicate the estimated post date for the issue. Asterisks indicate issues that, according to Barry N. Malzberg, are among the best issues of Astounding ever to appear.

Jamie Todd Rubin

     good stuff, plus info od malzberga. 15-ak njegovih romana and still counting.

ekstrahovano iz melkorovog posljednjeg posta, a sto je prethodno ekshumirano iz jamie todd rubinovog sajta

barry malzberg govori o svojim omiljenim 'Astounding SF' brojevima; da se ne zaboravi:

Barry Malzberg's Favorite Astoundings (http://www.youtube.com/watch?v=jlcI-TdX1eA#)

Period Piece: An Introduction to Astounding's Clayton Years (http://spacerubbish.wordpress.com/2011/03/15/astounding-clayton/)

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eto, kad smo kod toga... :)
Meni je bilo šta Asimovljevo na temu vukodlaka potpuno nepoznato, pa biće zanimljivo overiti taj konkretno period piece, garant.

Ovo teško da ima veze sa Asimovom. Možda priče iz časopisa...

pretpostavljam.
ali ipak, i tako se ože overiti afinitet, zar ne? na kraju krajeva, Asimov je više pažnje polagao na editorsku produkciju nego na onu ličnu; bio je toliko prolifičan da stvarno ne znam ima li ikog da mu iscrpno poznaje opus. ovo me stvarno zanima, valjda upravo zbog toga.

QuoteThe latest anthology reprints from the Asimov magazine centers on werewolves and as expected from that illustrious publication the stores are all great. The time frames vary adding to the depth of the mix. The stories take readers seemingly everywhere. One tale involves a Viking visit to the new world before Columbus. Another centers on a wild ride on the Orient Express in the nineteenth century. The 1950's South hosts a story. The American Western frontier provides the backdrop for a firth tale. Finally, the remaining entries take the audience on a weird trip in modern times. Each tale holds in common two things: werewolves are a featured character(s) and all six are excellent tales.

Several of the tales are award winners, but all deserved recognition. Fans of horror short stories and anyone who relishes a werewolf tale with a bite will gain much pleasure from this collection that lives up to the Asimov label.

Jah, well...  :roll: trpite zajedno sa mnom do ponedeljka. Onda ima da mi sve bude tip-top, i to bez zaleđenih žabica.

Out of this World, decembar 1950.


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I mi konje za trku imamo...

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Odlično!  :) :) :) :) Držao se znači korak!

Zamolio bih vas za informacije (izdavač, urednik/urednici, zastupljeni žanrovi/autori, koliko brojeva je izdato, datum gašenja, bilo šta što znate) o ovom magazinu. Da li je bilo još sličnih magazina u '50.-'60.?

Ladno je Forever Amber bilo objavljeno kod nas '58?? Majko moja!

Moji romani su krenuli 31. januara 1958, a ugašeni sa brojem 22 negde početkom jula 1958 (nemam samo taj poslednj broj pa ne mogu da ti kažem tačan datum). Išli su nedeljno (petkom), 32 strane, meki povez, novinska hartija (uključujući i naslovnu stranicu) - zato ih ima malo u prodaji - propali su dosta.
Objavljavali su i domaće i strane pisce, krimiće, avanturističke romane, SF, ljubavne itd. u nastavcima. Pojedini romani nisu završeni. Broj 19/20 je bio dvobroj.

Izdavač je bilo Novinsko-izdavačko preduzeće "Stožer" iz Beograda.

Odgovorni urednik bio je Dušan Kostić.
Tehnički urednik: Mile Štrbac
Ilustratori: Ludvig Fišer i Đorđe Simić.

Za časopise koji su išli 1950. i 1960. i objavljivali SF kod nas najpouzdaniji izvor ti je naša bibliografija. Daš upit po godini i vidiš šta sve ima... Ima dosta toga, a ima i ponešto da se dopunjuje.

QuoteLadno je Forever Amber bilo objavljeno kod nas '58?? Majko moja!

Pa kad su mogli Lea Peruca...  :)

Hvala na odgovoru.

Quote from: Mica Milovanovic on 27-03-2011, 14:00:18

QuoteLadno je Forever Amber bilo objavljeno kod nas '58?? Majko moja!

Pa kad su mogli Lea Peruca...  :)

:) Da, ali ja sam bila ubeđena da je to palpovanje krenulo ipak tek ranih šezdesetih, '58 mi je preblizu Ždanovu... Čovek se uči dok je živ.

Pa, ako je Staljin riknuo 1953., a Hruščov došao na vlast 1956. (ako nisam promašio neke godine, a mrzi me da proveravam), onda je tačno k'o sat.

Kako se 1910 zamišljalo da će svet 2000 izgledati?

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In the 21st century, in order to control traffic jams in the air,
there will be more and more flying policemen.

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Firemen will be equipped with "bat wings" to be able to easily access top floors and roofs.

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Just one for the road...


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Wars will be fought by "combat cars".

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Schools will be equipped with audio books.


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You'll be able to send mail just by dictating it into loudspeaker.

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Police will use armored bicycles (motorcycles?) to chase down criminals.

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Spy helicopters.

Interesantno kako su skoro sve pogodili. Dobro, ne baš kao na ilustracijama...

opasan je sf palp, Gaffe...  :lol:

Pošto sam kopajući po arhivi pronašao nešto zanimljivo od pre trideset godina – evo da podelim sa vama. U pitanju su moje zabeleške sa predavanja koja su održavana u DK ,,Studentski grad" početkom 1982. Činio sam samo male jezičke korekcije – da ne bih poremetio izvorni ton.
Evo i skena programa čitave manifestacije – ima i malih neslaganja sa mojim zabeleškama.

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Utorak 12. januar 1982.
Predavanje u DK ,,Studentski grad ,,Naučna fantastika i mit"
Božidar Zečević varira tezu da celokupna naučna fantastika (poglavito na filmu) varira 12 osnovnih tema datih u mitu o Agronautima. Po njemu je mit sveta priča koja prikazuje nešto nepromenljivo kroz borbu suprotnosti.
Zoran Živković je rekao u diskusiji da je ,,Rama" korak dalje, da nema više veze sa mitom jer je ravnodušan, dok kod mitova nema ravnodušnosti.
Videti knjižicu Zečevića u Kinoteci ili Čika Ljubinoj ulici...
Zanimljivo je da Boban poseduje transkript razgovora koji se posle vodio:

QuoteDom kulture "Studentski grad", diskusija posle predavanja Božidara Zečevića "Naučna fantastika i mit"
PITANJE: Gde vidite "Stalkera" u svemu tome?
ZEČEVIĆ:: ne mogu da ga uvrstim ni u jednu grupu koju sam pominjao. I sam Tarkovski tvrdi da "Stalker" nije naučna fantastika. On ima elemenata SF-a ali Tarkovski ne želi da se uvršćuje u žanr, već on svojim filmovima želi nešto drugo da kaže i da otvori jedno sasvim drugo pitanje o svetu, koristeći neke spoljašnje odlike žanra ostaući potpuno izvan njega; što se ne može reći za "Solaris" koji sve to isto postiže, ali u žanru. "Stalker" nije bio zgodan izbor za prvo veče ovog ciklusa uz ovakvo predavanje.
PITANJE: Kada ste govorili o elementu naučnog u naučnoj fantastici, tj. koliko slobode je dopušteno stvaraocima, koliko se sme ići sa pseudonaučnim činjenicama?
ZEČEVIĆ: To pitanje je u filmu naročito važno. Prihvata se određena konvencija koja je u literaturi nerazjašnjena. U filmu je drugo. Prihvata se kao konvencija sve, s tim da mora da se izvede. Dogodilo se to i to. U stripu jedan potez pera ruši gradove, u filmu sve to mora da se izvede, sve to mora biti očigledno, sve to mora da liči na stvarnost. Recimo čudovišta, upoerdimo ona u Hondinim filmovima i u "Osmom putniku". Ne verujemo SF filmu koji nije us tnaju da nam putem trika tu stvarnsot učini verovatnom. Ako se gradijent fakture odmah pokaže kao trik, konvencija se raskida. Film ostaje u okviru žanra, ali je konvencija verovatnosti razrušena. Trik mora biti sjajan... Danas više ne prolaze filmovi sa kartonskim čudovištima, i zbog toga se stalno traže novi efekti, koristi se i kompjuterska tehnika. "Ratovi zvezda" su prilično uverljivi... Recimo efekat letenja, našeg zemljaka Perišića koji je dobio Oskara zbog toga Raniji trik sa letenjem je imao auru oko tela i više se ne koristi jer nike ne veruje u to.
PITANJE; Da li se u tome može ići i protiv osnovnih naučnih činjenica ukoliko to može da se izvede?
ZEČEVIĆ: Da li mislite na utisak stvarnosti ili na ono što je naučno u SF-u?
PITANJE: Naučno. Koliko se sme ići protiv nekih osnovnih prirodnih principa?
ZEČEVIĆ: U filmu se sme ići koliko god hoćeš ukoliko se može uspostaviti konvencija. Ti veruješ i u ono što je nemoguće ukoliko deluje verovatno na ekranu. U tome je prednost filma u odnosu na književnost. Na primer, jedan naš, inače dobar pisac SF-a u jednoj priči čija se radnja događa u bestežinskom stanju napisao je da su žiroskopi poludeli. U književnosti to deluje glupo i naivno, u filmu bi čak i nešto takvo moglo da proĐe. Ili konvencija telesporta u "Blejkovoj sedmorci". Takav način transportovanja verovatno nikad neće biti moguće ostvariti, i mi smo svesni toga, ali sve deluje vrlo uverljivo i odmah to prihvatamo bez razmišljanja. Naučni detalji nas ne zanimaju.
ŽIVKOVIĆ: Mislite da u SF književnosti nema konvencije?
ZEČEVIĆ: Manje nego u filmu.
ŽIVKOVIĆ: Uzmimo primer Ursule Legvin. Ona u svom romanu "Leva ruka tame" ima samo dve naučne konvencije koje nigde na objašnjava. Jedna od njih je ansibl koji omogućava da se uspostavi trenutna veza sa bilo kojim krajem u svemiru, pod uslovom da je jedan kraj u blizini tela velike mase. Ursula nigde ne objašnajva kako to funkcioniše, ali to nimalo ne umanjuje vrednost ansibla, slično kao u "Blejkovoj sedmorci". Primer nije slučajno uzet, Ursula čini prekretnicu u američkom SF-u, kada se odustalo od Asimljeve (Vernovske) tradicije da se SF piše zbog nauke. Naučna fantastika je u krajnjoj liniji umetnost... Postoje dve vrste kazivanja, parabolični i neparabolični. Vernovski pravac teži da se redukuje stvaran izgled budućeg vremena. Parabolični (velsovski), poreebeni način kazivanja jedino obavezuje pisca da poštuje neka najopštija načela verovatnosti i nužnosti, dopuštajući piscima mnogo veću manevarsku slobodu, koja postoji kako u literaturi tako i u filmu.
ZEČEVIĆ: Nisam mislio na podvajanje u tom smislu, već u smislu konvencije. Da li je ta konvencija življa u filmu ili u književnosti. Razlika je u tome što u literaturi možeš da kažeš "Usmerio je zrake i uništio američku flotu". U filmu to moraš da izvedeš. Ako ga napraviš u bazenu sa lošom maketom, stvar propada. Mora biti uverljivo. U literaturi je to jednostavnije.
ŽIVKOVIĆ: Ako ti kažeš "Uništio je američku flotu" i ništa ne objasniš, to jeste literatura, ali paraliteratura. Slaba literatura.
ZEČEVIĆ: Nismo se upuštali u vrednovanje, govorili smo o konvenciji.
ŽIVKOVIĆ: Ako ti govoriš šta je vredno, a šta ne, onda je to aksologija.
ZEČEVIĆ: Nismo još u okvirima aksologije, još smo u okvirima izvesnih zajedničkih osobina.
ŽIVKOVIĆ: Kada si rekao da postoje različite vrednosti u okviru filma. Ako se uradi sa paprinatom kulisom onda ne valja...
ZEČEVIĆ: Možda nije u pitanju prava reč, ali u svakom slučaju nije u pitanju aksologija. U pitanju je nešto što je verovatno i nešto što je manje verovatno.
ŽIVKOVIĆ: Znači jedno valja drugo ne valja...
ZEČEVIĆ: Nisam rekao valja, nego verovatno.
ŽIVKOVIĆ: Šta znači manje ili više verovatno?
ZEČEVIĆ: Dobar trik je više verovatan od lošeg trika.
ŽIVKOVIĆ: To je isto kao i dobra rečenica, dobar opis u romanu, ipak je tu vrednost u pitanju....
ZEČEVIĆ: Dobro, ajde, u pravu si.
ŽIVKOVIĆ: I tu se razlikuje literatura od filma. Ti niz stvari možeš da napraviš u filmu i obratno... Ako ti misliš da je autor književnog SF-a u većoj obavezi nego reditelj da nešto objašnjava, dospevamo u situaciju da Kafkin "Preobražaj" nazovemo SF-om. Kafka nijednog trenutka ne daje objašnjenje kako dolazi do tog preobražaja. Ukoliko bismo tražili objašnjenje ne bismo razumeli ni Kafku ni "Preobražaj". Stvar je u tome što Kafki nijednog trenutka nije bilo potrebno da objašnjava, jer on koristi takozvani parabolični umetnički prilaz. Cela mudrost je u određivanju te filmske konvencije, određenju nnivoa granice verovatnosti i nužnosti. To je upravo ta međa na kojoj se pisac oseća obaveznim da u cilju odražavanja unutrašnje logike svog dela daje objašnjenja. Ursula pravi savršeno koherentne romane ne dajući nigde objašnjenje. Ursula pravi savršeno koherentne romane ne dajući nigde objašnjenje. Pored ansibla imamo takozvani NAFAL brodove o na tim dvema pretpostavkama počiva njen Hajenski ciklus koji obuhvatga sedam romana. Taj ceo "njen" svemir postaje funkcionalan i bez objašnjenja. Bitna stvar je odrediti tu među koja će da razdvaja Kafkin pristup od Ursulinog... Ima jedna druga stvar nezavisno od svega ovoga, što je posebno zanimljivo. Razmatrajući jednu od tih celina ti si ustvrdio da, pretpostavljam da si samo na film mislio, jer bi bilo opasno da nisi, u okviru prvog kontakta postoje dva pristupa: osvajački i miroljubivi, i kažeš da preovladavaju osvajački...
ZEČEVIĆ: Samo na film sam mislio. U literaturi je drugačije. Snimljeno je samo osam značajnijih filmova koji nemaju osvajački pristup.
ŽIVKOVIĆ: Mećutim javlja se tu jedna treća mogućnost koja je ključna i kako mi se čini, u jednoj dalekosežnoj analizi može da ospori pretpostavku da se naučna fantastika iscrpljuje u jednom mitskom pristupu. Daću jedan primer da bih bolje objasnio stvar. Do dva minuta pre kraja predavanja bio sam nestrpljiv da li ćeš pomenuti "Odiseju", i ti si je pomenuo na kraju kao sintezu svih tih pristupa. Međutim "Odiseja" kao roman nije nimalo tipičan Klarkov roman, po jednoj pretpostavci na kojoj počiva "Odiseja": Kubrik je naveo Klarka da odsutpi od svoje osnovne zamisli u motivu prvog kontakta i da pretpostavi da će ti "drugi", vanzemaljci biti blagonakloni prema nama. I zbilja oni čine jedan misionarski cilj omogućavajući majmunu da preraste u čoveka i kasnije čoveku da se uključi u carstvo viših kosmičkih entiteta. Takvo rešenje prvog kontakta je vrlo netipično za Klarka. Ako bi trebalo tražiti uzrok Klarkovog pristupa tom motivu, onda je to znatno pre jedan drugi roman "Susret sa Ramom". Zašto? Zato što Klark tu vrlo mudro pokazuje jedini pristup naučne fantastike motivu prvog kontakta. Da samo podsetim na radnju: U Sunčev sistem ulazi jedan arkofag, svemirski brod koji ne pokazuje nikakvo zanimanje za čoveka. Ljudi ga ispituju, ulaze u njega i ne uspevaju nikako da se razaberu u njemu. Kontakta nema. Rama nije ni misionar ni osvajač, Rama ostaje kolosalno ravnodušan.
ZEČEVIĆ: Koa obelisk u "Odiseji".
ŽIVKOVIĆ: Obelisk nije ravnodušan, on je izuzetno emotivno zainteresovan da ti majmuni postepeno prerastu u ljude pa u natčoveka. On je taj katalizator, to je sasvim izvesno...
ZEČEVIĆ: Pitanje je da li je to izvesno. Ja to tako ne vidim.
ŽIVKOVIĆ: Cela "Odiseja" počiva na tome da postoji blagonaklonost tih "drugih". Stav Rame nije ni blagonaklon ni osvajački, on je ravnodušan i tu se prvi put u jednom celovitom romanijskom smislu pokazuje model odstupanja SF-a od jednog mitskog obrasca, da postoje neistraženi putevi u razvoju žanra, da je to njegova ključna vrlina. Ravnodušnost se ne javlja nigde u mitu. I sam si kazao, kada si govorio o opozicijama protagonista. Mit počiva na tim opozicijama, cela grčka drama takoĐe, to je temelj shvatanja mita. U mitu nema rvnodušnosti, nijedna mitska figura nije ravnodušna. Klark pokazuje da može io na treći način.
PITANJE: Da li je isti pristup i u "Stalkeeru"? Koji je roman pre napisan?
ŽIVKOVIĆ: Ne. Tu je drugačiji odnos. Oni su naadređeni u toj meri kao Što bi mi bili u odnosu na bakterije... Ramina ravnodušnost poprima razmere jednog novog mita. To je ravnodušnost koja prkosi nastojanjima ljudi. A utoj Zoni niko ne pokušava da uspostavi kontakt, svi pokušavaju da je dokuče, da je razumeju, jer je toliko nadređena. Rama nije toliko nadređen u odnosu na čoveka koliko oništo su stvorili Zone.
PITANJE: Postoji li zajednička crta između ta dva pristupa?...
ŽIVKOVIĆ: Ta zajednička crta neosporno postoji, samo je razlika u kvantitetu. Rama je sigurno napisan pre, i Strugacki su ga imali u vidu.
I to je upravo ono što sam rekao: Naučna fantastika počinje da traži nove puteve, i to je ključna vrednost za žanr. Jedino naučna fantastika u današnje vreme nalazi nove puteve, puteve bežanja iz žanra. Nije slučaj što sada Klark sedi i piše posle petnaest godina nastavak "Odiseje". Ja ga nestrpljivo čekam samo zbog toga da vidim kako će na kraju izvesti to opoziciju između monolita i Rame.
ZEČEVIĆ: Ja mislim da tu ima nesporazuma. Motiv ravnodušnosti u stvari samo još više produbljuue vezu mita i SF-a. Pre Hrišćanstva nijedna religija ne želi kontakt sa čovekom. Bog je prema čoveku potpuno ravnodušan. I prvi Bog koji nije ravnodušan već je za čoveka je hrišćanski bog. Već Jehova nije to. On ima odnose na etničkim principima pravde, dobrog i lošeg, ali nema sa čovekom. Bog sa čovekom nema ništa. On ga doduše i kažnjava ponekad, dotle nema govora o kontaktu. Jehova diže ruke na čoveka. Stvorio ga je i kada je video da je pogrešio odriče ga se.
PUBLIKA: Ali ga je stvorio...
ŽIVKOVIĆ: Bog je stvaraoc u svim religijama.
ZEČEVIĆ: Da, stvorio je nebo, zemlju, ljude... Niz stvari je uradio i na kraju je stvorio čoveka. On se kreće u okvirima koji su iznad čoveka.
ŽIVKOVIĆ: Čoveka je stvorio na kraju, ali ne i kao poslednjeg po vrednsoti. On je kruna svega, sve postoje zbog čvoeka... Tu nema reči o ravnodušnosti. Rama je kolosalno ravnodušan. On je nadljudski, to je prava reč, nadljudski ravnodušan... Rama prolazi mimo nas.
ZEČEVIĆ: To i nije toliko važno. Rama je opet neka vrsta mita.
ŽIVKOVIĆ: Po definiciji mit odražava jedno stanje koje se večno vraća, koje se ne menja... SF kroz Ramu prvi put pokazuje put izlaska iz večnog ponavljanja. Mit je sve vreme emocionalno angažovan prema čoveku. Ili ga voli ili ga mrzi. Klark stvara alternativu mita...
ZEČEVIĆ: Ali ipak mit. Nešto izvan čoveka.
ŽIVKOVIĆ: Ne. Rama je katalizator. Klark ga je uveo uroman, proveo ga i izveo. Bili sui ostali ljudi. To je morfološki središnji motiv SF-a. Vrhunska dela SF-a nemaju elemenata mita.
PITANJE: Da li vrhunska dela SF-a možda onu svoju sugetivnost duguju, rcimo tome što se te radnje dešavaju granicama naučno mogućeg?
ŽIVKOVIĆ: Stvar je konvencije. Naučno moguće ne znači ništa. Tautologija. Ono što je danas naučno moguće, ono što je bilo juče ili sutra moguće? Stvar je u konvenciji. Kao što verujemo da Supermen zbilja leti, isto tako verujemo Ursuli Legvin da je njen ansibl moguć. I samo tomoguće ili ne, nebitno je zxa prouku dela koje ima sasvim drugi cilj. To je sredstvo, tehničko koje služi određenoj svrsi. Da je Ursula loš pisac upotrebila bi očiglednu besmislicu koja narušava unutrašnju logiku dela, i mi ti taj roman odbacili. Ovako ovo je veŠto izvedeno i mi prihvatamo. Isto kao što je lepo izveden trik sa Supermenom. Ja dok ga gledam prihvatm konvenciju, ne razmišljajući da li je to moguće... Isto tako kada se javi papirnata kulisa meni je to smešno. Sve ono što nas natera da verujemo je umetnost, ostalo je kič.
PITANJE: Da li osim ovih običnih filmova, narativnih, i drugi, recimo aspstraktni mogu biti naučna fantastika?
ZEČEVIĆ: Ne. Naracija je jedan od uslova koji čine SF. Avangarda nije SF.
PITANJE: Ja bih se vratio na čudovišta, vi ste rekli a su čudovišta nešto izvan čoveka. Međutim meni se čini da ta čudovišta predstavljaju sintezu svih negativnosti koje čovek može da predoči: odvratnost, ljigavost, ogromna veličina... Hteo bih da kažem da su sva čudovišta antropomorfna.
ŽIVKOVIĆ: Čudovište je mitološki junak koji sprečava prirodan tok stvari. Simbol zla je uvek u obliku zmije, zmaja ili aždaje. Sasvim normalno. Hičkok je napravio samo jedna kiks u životu, u jednom svom filmu ubivši pozitivnog junaka. I nikad više, to mu je bila opomena. Šta bi se desilo da su ta čudovišta koja dolaze da osvoje Zemlju lepa, privlačna, dobra, bolja od čoveka? ... A ako nekog predočim kao ružnog, negativnog, ljigavog... samim tim zadovoljavam gledaočevu potrebu da nadvlada biće koje je odvratno jer gledalac voli da mu se zadovolje emocije.
ZEČEVIĆ: Psihologija je već odavno objasnila taj proces. Tu se pojavljuje interesantna stvar. Mi se uvek identifikujemo sa nekim ko je jači i bolji.
ŽIVKOVIĆ: Ima i obrnutih slučajeva. Mi se identifikujemo sa onim ko je više prisutan ili, čak još, ko se prvi pojavi u romanu ili na filmu. Recimo "Zločin i kazna". Glavni junak je ubica međutim mi se identifikujemo sa njim, niko se nije identifikovao sa onom babom.

13. januar 1982. sreda

Film ,,Gosti iz galaksije" Dušana Vukotića.
SF pisac poseduje moć da ono što dovoljno jako poželi ostvari. Materijalizuje (nesvesno) brod sa ženom-robotom i dvoje dece (od kojih jedno ima igračku-čudovište). Oni ga pozivaju da dođe na ostrvo kod Dubrovnika na koje su se spustili. Tu ga jedno od dece napada, jer je hteo da ga izbriše iz dela. Pisac uspeva da pobegne čudovištu i beži na kopno, gde se poverava psihijatru (tu saznajemo za njegovu moć – možda je bolje da su gledaoci duže bili u neizvesnosti). Tokom posete materijalizuje i knjigu iz koje su likovi ,,pobegli" – a doktoru priča da je dok je bio beba ocu stvorio grudi da ga podoji. Nešto kasnije vraća se na ostrvo sa šarmantnom prijateljicom Bibom, sreće vanzemaljce, a oni pretvaraju Bibu u kockicu. U jednoj od scena vidi se da žena-robot može da vraća vreme unazad. Foto-reporter Toni naslućuje moguću senzaciju i kreće na ostrvo. Tamo je već masa naroda jer je ugostiteljev sin pronašao prst žene-robota. Ljudi-žabe kreću na tuđine, ali bivaju isprašeni, a onda ,,masa" kreće da umilostivi ,,bogove" tako što skida sve sa sebe i govore da dolaze u miru. Tuđini ih ostavljaju da jure goli po pećini i sele se kod pisca. Žena-robot mu sprema jelo iz stomaka i sipa kafu iz prsta. Onda vode neku vrstu ljubavi. On je dodiruje i pozadina postaje plava (unutrašnjost kupole u kojoj oni lebde), tj. njegovi i njeni svetovi se mešaju. Tu upada besna Biba i nudi mu da izabere između nje i žene-robota. U isto vreme klinci ubacuju igračku čudovište u njenu torbu i kada se ona vrati kući, za malo dobijamo Alien-a – čudovište koje čini masakr u sobi (scena je antologijska – čudovište kida glave ljudi, sve bez kapi krvi). Za to vreme jedan od ljudi u sobi penje se na sto i korača ko Berger u Kosi. Na kraju dolazi Bibina sestra i čudovište joj stavlja venac od cveća na kosu – Lepotica i zver Koktoa?). Žena-robot ipak vraća vreme unazad i sve je OK. Pisac sa tuđinima polazi na njihovu planetu. Čuje se Bibin glas koji mu kaže da to ostavi astronautima, a on odgovara da su oni (sanjari) uvek išli napred.
Specijalni efekti sa kuglom su zanimljivi, a u diskusiji je neko pomenuo da je slično i kod Brika Bradforda.
Zoran Živković je rekao da je najvažniji sukob između pisca i sredine koja ga ne shvata, ali da pisac, kad ima mogućnost da se osveti sredini – to ne koristi.
Dušan Vukotić je rekao da je hteo da utre put sledećim ostvarenjima, da je svesno išao na parodiju da ne bi predaleko otišao za gledaoce – tj. da kod nas nema tradicije za takve filmove.

14. januar 1982. četvrtak

Prvo je prikazan film ,,Ružni mali dečak" po priči Isaka Asimova – osrednji, kao i nešto bolji ,,Južnoafrička pustara" po Bredberiju (,,bacite ih lavovima").
Posle toga je bilo predavanje Amerikanca Mareja iz titogradskog kulturnog centra o naučnoj fantstici u SAD u devetnaestom veku.
Teza je da su svi značajni pisci 19. veka u SAD – od Irvinga, Hotorna, Džejmsa, Tvena, O'Brajana, Melvila, Belamija, pa do najboljeg od njih – E. A. Poa, na neki način pisali naučnu fantastiku.
Irving- Rip Van Vinkl. San od 20. god.
Tven – Jenki na dvoru kralja Artura
O'Brajan – Dijamantska leća
Melvil – ,,Bell Tower" – automat nalik na čoveka
Smatra Ursulu Legvin jednom od najboljih pisaca u Americi. Njegovi favoriti: Laferti, Tomas Diš, Ursula Legvin i Džin Volf.
Zanima ga transpozicija mita u naučnu fantastiku i putovanje kroz vreme.
Zoran Živković je posle govorio o romau ,,Svet se kaže šuma". Ne slaže se da je to samo kritika Vijetnama, već je kritika arhetipa junaka iz američkog načina života, otelotvorena u ,,Dejvidsonu". Takve likove je stvarao Hajnlajn i takvima više nema mesta (Džon Vejn i moderan vestern).

Fahrenheit 451 je prvi put objavljen (u kraćem obliku) u Galaxy Science Fiction magazinu, februara 1951. pod naslovom "The Fireman".


(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi55.tinypic.com%2F352j4wg.jpg&hash=c8fea357b8aacefbd1a370dd6db49c475d6c1540)

Kirkus: How to Start Reading Science Fiction, Part 1 (http://www.kirkusreviews.com/blog/science-fiction-and-fantasy/sf-signal-how-start-reading-science-fiction-part-1/)

Amazing Stories, april 1926.


(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi54.tinypic.com%2Fsggy0z.jpg&hash=c48a7f4274a5eef86826f7c12d1f6c66d900f7d7)





I reči urednika.


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Amazing Stories, april 1928.



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(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi53.tinypic.com%2F2j1vh51.jpg&hash=5979112321a75aa169fe4c6f7961b227e09c7d41)

Simbol koji je pobedio:


(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi55.tinypic.com%2F160rng0.jpg&hash=8702aa9a48c91d7274b0bb330da1d917a62d86de)

Science Fiction's Hundred Year Spree (http://www.salonfutura.net/2011/04/science-fiction%e2%80%99s-hundred-year-spree/) :)

Amazing Stories, avgust 1939.


(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi54.tinypic.com%2F6gee5l.jpg&hash=ad1d67606718c6194a9db8126809db7b68c76497)





Amazing Stories, maj 1944.


(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi56.tinypic.com%2F6jhc7l.jpg&hash=0b793ad8a136055e2cfbd3f335137ed3d6880cc6)

Cosmos Science Fiction and Fantasy Magazine, septembar 1953.


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Amazing Stories, februar 1946.


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Kako te reči u dnu naslovnice danas proročanski zvuče, a?

Quote from: LiBeat on 19-05-2011, 21:20:12
Kako te reči u dnu naslovnice danas proročanski zvuče, a?

... još uvek.


Ma nije to ništa, pazi šta sve oni nisu tripovali:

Amazing Stories, april-maj 1953.


(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi54.tinypic.com%2F212iyd3.jpg&hash=374a91d855ffd76eb01562ea9b1a89eca8f2b6d7)


Amazing Stories, novembar 1938.


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Amazing Stories, januar 1939.


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Da ne govorim o tome da će marsovci na nas gledati kao mi na mrave.

Amazing Stories, maj 1941.


(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi56.tinypic.com%2Frm8cus.jpg&hash=8c5c8a4d627adfc5b5e8bff3880518ab0c04ffc8)

Galaxy, jul 1970. (WTF?!)

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A Trip to the Moon (http://www.youtube.com/watch?v=oYRemE9Oeso#)

Le voyage dans la lune, iliti A Trip to the Moon (1902), Georges Méliès

Amazing Stories, novembar 1939.

Međuplanetarna komunikacija!  :?  Mislim, stvarno su imali ludačke ideje!

(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi55.tinypic.com%2F10s54eh.jpg&hash=230aa9f7aa7d8784a7542fbeccfce482bc7b9510)


(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi56.tinypic.com%2F6y1jr5.jpg&hash=93e22e45c1c4368081d8ee3b2ee90c6e5155e131)


(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi56.tinypic.com%2Fndseh5.jpg&hash=003a6dcf92ad3f6ef9e700649cee2cd0fb92b592)

Japansko proto-science-fiction delo iz osmog veka:

http://www.gutenberg.org/files/4018/4018-h/4018-h.htm#fisher (http://www.gutenberg.org/files/4018/4018-h/4018-h.htm#fisher)

i još jedno, iz desetog:

http://www.gutenberg.org/files/4018/4018-h/4018-h.htm#bamboo (http://www.gutenberg.org/files/4018/4018-h/4018-h.htm#bamboo)

Priča o sekaču bambusa je objavljena, mislim prošle godine, kod nas:

http://tanesi.co.rs/details_bambus.html (http://tanesi.co.rs/details_bambus.html)

Inače, ova izdavačka kuća izdaje mnogo japanskih pisaca, preporučujem Abe Koboa, Jasunari Kavabatu, Jukio Mišimu, Kenzaburo Oea, Nacume Sosekija.

Ali prvenstveno Kavabatu i Koboa.

S-F Magazine, decembar 1968.


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Amazing Stories, decembar 1938.

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Amazing Stories, decembar 1939.

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Galaxy, jul 1953.


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Cosmos, jul 1954.


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Monorail (?) 1918.

Electrical Experimenter, avgust 1918.

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Monorail 1934.

Popular Science, jul 1934.

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Monorail 1944.

Amazing Stories, decembar 1944.

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Monorail 1954.

If, januar 1954.

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Monorail 1993.

Marge vs. the Monorail, The Simpsons, januar 1993.

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Galaxy, avgust 1952.


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The Complete and Unexpurgated "Who Killed Science Fiction" - e*I*, decembar 2006. iliti Kemp je 2006. uspeo (uz pomoć sina) da sredi neobjavljeno i dopunjeno izdanje (iz 1980.) prvog SaFari godišnjaka, naslova Who Killed Science Fiction (nagrađenog, jelte, nagradom Hugo 1961.) i objavi je u svom e-fanzinu. (http://efanzines.com/EK/eI29/index.htm)

 ... Kurt Vonnegut Jr., u trenutku iskrenosti, sa sve kasnije izvinjenjem... mada, po meni, nije imao rašta...  :mrgreen:

i Silverberg, također... a gosn Anonimus no. 1 je također priča za sebe...  :D

Farmer i Marion Zimmer Bradley, takođe nisu loši, i iako ovo vredi pročitati od prve do poslednje reči (naravno, samo onima koje zanima šta se dešavalo vezano za US naučnu fantastiku 1960. i gde je/kako je, po mom mišljenu, zapravo začet Novi Talas (iako je već i pre bio "odsjaj u oku", a došao na svet tek kasnije)), preporučio bih, pored već pomenutih, sve one koji se pominju u uokvirenom delu pored Millerovog (,P. Schuyler) odgovora. Kao i Kempov "odgovor na odgovore".

Da, Farmer se osvrće uglavnom na sajentološku frku... mada, eto, danas je to skroz voda ispod sf mosta...

Postoje dva odgovora:
1. Science killed science fiction
2. Fiction killed science fiction

Da li se u oba slučaja radi o samoubojstvu?

     

Quote from: Lord Kufer on 03-07-2011, 13:04:42
Da li se u oba slučaja radi o samoubojstvu?

     Ako se dobro sećam, neko (ne sećam se ko) jeste došao do zaključka da se radi o samoubojstvu. Pogrešio je, naravno. (nikako zaboraviti da se radi o 1960. i da izdavaštvo još nije bilo u tolikoj meri bilo pod uticajem korporativne politike (više pod uticajem afiniteta određenih urednika) koja danas isključivo razmatra (čast izuzecima) pitanje šta je danas "IN", što i nije mnogo doprinelo kvalitetu izdatih dela. Mala 'digresija': ušao sam pre mesec i kusur dana u knjižaru u Augsburgu, reko' da vidim šta se prodaje u meni stranoj zemlji... kad ono... metar visoka hrpa raznih izdanja okarakterisanih kao Vampire, dok sam u mnogo nižoj hrpi naučnofantastičnih izdanja (od kojih većina nije imala ama baš ikakve veze s naučnom fantastikom) prepoznao jedino Quantum Thief (preveden pod naslovom Quantum)).

     Nazad na temu.
     Zapravo se upitnik odnosio na naučnofantastične časopise i njihovu sudbinu, kao i (donekle prikriveno) na sudbinu kratkih priča u okviru izdavaštva, a ne sâme naučne fantastike. Interesantno je, kako je, u stvari, problem bio u neprihvatanju potrebe za promenama, a koje su se, u okviru evolucije žanra, em bile neophodne, em bile sasvim prirodni deo "odrastanja" naučne fantastike, em su se i dogodile.
     Kao što znamo, i časopisi i kratke priče su preživele zato što su imale (i imaju) svoju svrsishodnost. Palp Zlatnog Doba... manje-više.

Promenio se feeling, eto to je.

to je izjava od one dvosmisleno višeznačne vrste koja nikad ne komunicira ništa konkretno, nego je isključivo trivijalno, kvazikognitivno opšte mesto tipa "sutra je novi dan", "danas je danas a sutra će biti sutra", "sve se menja", "danas 'vako, sutra 'nako"... i tako to, i tako dalje, i tako bliže, a u svakodnevnom govoru dadne se transkribovati kao "sve vam ja to znam, ali ne umem da objasnim".

http://www.sf-encyclopedia.com/ (http://www.sf-encyclopedia.com/)

Encyclopedia of Science Fiction to be published online, with text available free

The third edition of the Encyclopedia of Science Fiction, the definitive reference work in the field, will be released online later this year by the newly-formed ESF, Ltd, in association with Victor Gollancz, the SF & Fantasy imprint of the Orion Publishing Group, whose support will enable the text to be available free to all users. This initial "beta" version, containing about three-quarters of the total projected content, will be unveiled in conjunction with Gollancz's celebrations of its 50th anniversary as a science fiction publisher.


The first edition of the Encyclopedia, whose founder and general editor was Peter Nicholls, appeared in 1979, and contained over 700,000 words. A second edition, edited by John Clute and Peter Nicholls, appeared in 1993 and contained over 1.3 million words. Both editions won the Hugo Award from the World Science Fiction Convention, in addition to numerous other honours. The beta version of the third edition will contain some 3 million words, including about 12,000 entries and well over 100,000 internal links. The entries cover every area of science fiction, including authors, illustrators, movies, music, games, and fanzines. The text will be completed, through monthly updates, by the end of 2012.


The third edition has been produced by editors John Clute and David Langford, Editor Emeritus Peter Nicholls, and Managing Editor Graham Sleight. Contributing Editors for the third edition include Mike Ashley on magazines, Paul Barnett on artists and illustrators, Jonathan Clements on all aspects of Japanese and Chinese SF, Nick Lowe on movies, Abigail Nussbaum on television, John Platt on comics, and Adam Roberts on music. During the Encyclopedia's development, the project has been supported by Clare Coney as Technical Editor, Roger Robinson as Research Editor, John Lifton-Zoline, and Pamela Lifton-Zoline. Robert Kirby of United Agents, The Bookseller's Literary Agent of the Year 2011, represents the Encyclopedia.


On behalf of Gollancz, Orion Deputy CEO and Group Publisher Malcolm Edwards commented: "We're delighted to have been able to facilitate the online publication of this monumental and definitive work – more than ever the single, reliable reference source which anyone interested in SF needs. As a contributing editor to that long-ago first edition, it's a particular pleasure to me to have been able to play a part in making this happen."

Anyone interested in signing up for the latest news on the project can do so at www.sf-encyclopedia.com (http://www.sf-encyclopedia.com).

The Encyclopedia is also on Facebook at https://www.facebook.com/pages/Sf-Encyclopedia/138995776178949 (https://www.facebook.com/pages/Sf-Encyclopedia/138995776178949) and on Twitter at @SFEncyclopedia.

For general enquiries, please contact grahamsleight@gmail.com

For rights enquiries, please contact Charlotte Knee at United Agents, cknee@unitedagents.co.uk

For Gollancz enquiries, please contact jonathan.weir@orionbooks.co.uk

Demode...

Evo:

http://www.bbc.co.uk/news/health-14047670 (http://www.bbc.co.uk/news/health-14047670)

Novum više nije novum.

Galaxy, decembar 1956.


(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi53.tinypic.com%2Frky421.jpg&hash=c14694f9cfee424bf9d58afc81edec35fc1620e1)

Odlično  xrofl

Amazing Stories, novembar 1927.


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A onda je stigla 1969. i počeli su da tripuju.


Galaxy, oktobar 1969.


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Galaxy, decembar 1969.


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Galaxy, februar 1970.


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Galaxy, mart 1970.


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Fantastic Universe, decembar 1955.


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Thrilling Wonder Stories, februar 1950.


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Amazing Stories, decembar 1927.



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Amazing Stories, avgust 1927.



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Amazing Stories, januar 1940.


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 xnerd

New Worlds, maj-jun 1964.


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I uvodnik od novog urednika:



http://realitystudio.org/criticism/a-new-literature-for-the-space-age/ (http://realitystudio.org/criticism/a-new-literature-for-the-space-age/)

http://www.dailymail.co.uk/news/article-2017818/Embryos-involving-genes-animals-mixed-humans-produced-secretively-past-years.html (http://www.dailymail.co.uk/news/article-2017818/Embryos-involving-genes-animals-mixed-humans-produced-secretively-past-years.html)

Doktor Moro i tako to. Evo zbog čega je SF mrtva - zato što je zaživela  :evil:

Vrlo se često prilikom razmatranja britanskog SF-a zanemaruje uticaj prethodnog izdavača New Worlds-a Džona Karnela (John Carnell, 1912-1972). Iako mu je lično interesovanje pre naginjalo tradicionalnom SF-a, ipak je u svom časopisu i brojnim antologijama praktično uveo novu generaciju britanskog SF-a na čelu sa Ballardom, Aldissom, Brunnerom i Moorcockom...
Evo naslovne strane jedne njegove manje poznate antologije nastale na osnovu priča iz New Worlds-a.

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Da, to je izdanje iz 1964.

Postoji i izdanje iz 1965.

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Kao i izdanje iz 1977.

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Samo da dodam: George Whitley je pseudonim A. Bertram Chandler-a.

Moram priznati, nakon ponovnog čitanja nekih od Carnellovih uvodnika, on jeste bio jedan od onih koji su bili spremni da se menjaju! Pogotovo što je kod većine urednika postojala neka "interesantna" ideja da su urednički zahtevi bitniji od same naučne fantastike (Campbell je, na primer, u svojim uvodnicima "savetovao" pisce, kakve bi mu radove trebali ponuditi za sledeće izdanje, nekad na osnovu toga kakvim naslovnicama je raspolagao). Nisu bez razloga američki autori smatrali da je britanska scena naučne fantastike leglo autora koji pišu (i bivaju objavljivani) onako čemu (kako) su i sami težili početkom '60-ih (izvinjavam se što ovde ne navodim izvor, ali, iskreno, zaboravio sam, ali danas sam to negde pročitao, pa se sećam smisla rečenog, ali ne i samih reči ili čije su).

Sve u svemu, u petom izdanju (1949) New Worlds-a, urednik u uvodniku piše između ostalog:

"We have only made a bare beginnig upon the many ideas you readers and ourselves want to see within the pages of New Worlds. ...Especially I request you to vote on your story preference for the whole of this issue, so that we may obtain a greater average for the results in the Literary Line-Up. Only by knowing more accurately our readers' story preference can we mould the contents to the desires of majority."
Očigledno želeći da udovolji publici, što i nije toliko nerazumljivo s obzirom da je časopis prvo izdanje izdao jula 1946., a peto septembra 1949.

Već 1956., u jednom svom uvodniku (naslova "S-f-Hollywood Version..." - previše je obiman da ga ovde iznosim na videlo, a trebalo bi ga pročitati u celini da bi se adekvatno prenelo mišljenje koje Carnell ima o holivudskoj produkciji) se žali na uticaj američke filmske industrije na to kakvu ideju o naučnoj fantastici nepoznavalac žanra dobija na osnovu gledanja ovih ekstra-mega-super-"ništadrugodo"-palpičnih ostvarenja.

Maja 1961., uvodnik je predao David A. Kyle-u (jedan od osnivača Futurianaca (uh, duga priča) i bio autor "Yellow Pamphlet"-a (još duža priča), pisac, esejista, ilustrator...) koji je naširoko analizirao nastup Kingsley-a Amisa na godišnjoj konvenciji BSFA, kada je isti - parafraziram - "izneo svoje mišljenje o naučnofantastičnim džidžabidžama u palp pisanijama" što je dovelo do rasprave (žučne u britanskom smislu) i na šta je Carnell reagovao rečima: "... he had virtually slashed the plot bases of modern science fiction in half", a većina je izjavila da preteruje (kao E. C. Tubb), dok su drugi (kao Kenneth Bulmer) bili mišljenja da bi se moglo, možda, iz ove izjave izvući i nešto pozitivno.
Carnell je, međutim, pomoću Kyle-a provukao ovu rečenicu u ovom uvodniku: "All agreed, however, that within the intimacy of their circle, the criticism was desirable and worthy". Takođe, prenoseći reči i delimično kritikujući Amisa, u njegovim rečima se može pronaći (iako je očigledno da je predstavnik "idejista") kako naučna fantastika žudi za izbalansiranošću između literarne forme i ideja koje prenosi.


U svom oproštajnom editorijalu (april, 1964.), Carnell se žali na preimućstvo mekokoričenih izdanja naspram časopisa, predstavlje novog urednika (Moorcocka, je li) i završava rečima: "Let us not look up on this as the end of the line, but merely a natural stage of metamorphosis in the development of science fiction."
Pitam se, mislio li je na neki novi oblik publikacija (mada je časopis ostao, manje-više, u sličnom obliku i pod Moorcockom još pet godina) ili na promene (nemoguće da nije znao kako Moorcock gleda na potrebe za promenama u naučnoj fantastici) koje će doneti Moorcock...

Bilo je vremeplovnih zanimljivosti i na Readerconu: (http://www.readercon.org/) Jamie Todd Rubin (http://www.jamierubin.net/) kazuje za sfsignal: I recently attended Readercon, my favorite science fiction convention, and while there, I moderated a panel called "Capturing the Hidden History of Science Fiction". I was fortunate to have a great group of panelists including Barry N. Malzberg, Eileen Gunn, Fred Lerner and Darrell Schweitzer. For a Friday night at 9pm, it was a standing-room-only crowd. That surprised me: I hadn't realized so many people were as interested in this "hidden history." The discussion was a good one, I think, but I wanted to explore the subject further here. Much of what was discussed on the panel was of academic value. What I wonder is: how much of this hidden history has value to run-of-the-mill science fiction fans and the new generation of science fiction writers?

What is meant by "hidden history"? This wasn't well explained or explored in the Readercon panel and I think that most people have their own idea about what this means. For me, it can mean a number of different things. "Hidden" is a loaded term, of course, but what I meant by "hidden history" was really that history of science fiction that is difficult to uncover. One classic example is the (probably apocryphal) story behind how Dianetics and Scientology got its start at a Hydra Club meeting in the late 1940s. A better example for our purposes is Mark Rich's biography C. M. Kornbluth: The Life and Works of a Science Fiction Visionary. Reading such a book raises as many questions as it answers. (http://www.sfsignal.com/archives/2011/07/the-hidden-history-of-science-fiction/)

Kirkus (http://www.kirkusreviews.com/blog/science-fiction-and-fantasy/sf-signal-i-one-welcome-our-robot-overlords-part-1/) se vremeplovski bavi robotima u SFu, počecima i značenjima i tako mu to...

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Despite the fact that robotics is currently an active field that has revolutionized manufacturing, when one hears the word "robot," the images conjured are not those of industrial lever arms and actuators, but of human-shaped mechanical men.

You have science fiction to thank for that. Robots are a recurring trope in the genre—largely because they allow writers to create cognitive estrangement, a situation that puts readers in a world different than their own, allowing them to view their own world from a different perspective.

The appearance robots in science fiction predates the origin of the word itself. Perhaps the most memorable "Mechanical Man" from this era was Tik-Tok, the emotionless, spherical character from L. Frank Baum's Oz books. (Sadly, the Tin Man does not qualify. He's technically a cyborg—a human mechanically augmented when his cursed axe began cutting off his body parts. Never tell a science fiction fan that there's no difference between a cyborg and a robot; it hurts their feelings and you'll wind up on the business end of a condescending eye roll.) Tik-Tok the Mechanical Man was so-named because of the noise made by his clockwork innards, which required constant rewinding. As robots go, he was definitely high maintenance.  

Meni će najpoznatiji uvek biti Elisonov  :)

Kad smo već kod Ellisona I Robota...


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http://www.jamierubin.net/2011/03/09/i-robot-i-robot-i-robot-and-i-robot/ (http://www.jamierubin.net/2011/03/09/i-robot-i-robot-i-robot-and-i-robot/)

Sci-fi guru Ray Bradbury on writing, Disney and 'The Illustrated Man. (http://www.youtube.com/watch?v=lHYm_fT3ewg#)

Galaxy, decembar 1965.

U ovom izdanju se prvi put pojavio Harlan Ellisonov "Repent, Harlequin!", said the Ticktockman

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Galaxy, februar 1960.


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Naša abeceda...  :lol:


A is for Anakin, born on Tattooine
B's for Barbarella, the Galaxy's Queen
C is for Caesar, who brought humans down
D is for Dim, not as dumb as he sounds
E is for EDGAR, a loving machine
F's Frank N. Furter, a different space queen
G is for Gor, invoking great terror
H is for H.A.L., who blames human error
... (http://www.sfsignal.com/archives/2011/08/guest-post-kevin-maher-on-sff-pop-culture-an-a-z-primer/)

u svezi s već pominjanim fenomenom The Science Fiction Encyclopedia:



In 1975 Peter Nichols, John Clute and Brian Stableford launched a project that would ultimately last for more than thirty six years, exceed four million words of careful scholarship, occupy at least three publishers, win many awards, and be recognised as the most important reference work in the science fiction: The Science Fiction Encyclopedia.

This week encyclopedist, writer, editor, and critic John Clute joined Gary and I to discuss the coming September launch of the third edition of the SFE, the history of the project, and the exciting SF Gateway project which is being launched by Gollancz at around the same time.

As always, we'd like to thank John for joining us, and hope you enjoy the podcast! (http://jonathanstrahan.podbean.com/2011/07/21/episode-60-live-with-john-clute-and-gary-k-wolfe/)

Science-Fiction Plus, decembar 1953.

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I reč urednika...

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Časopis Future Science Fiction je nastao spajanjem dva časopisa: Science Fiction-a (prvo izdanje marta 1939.) (12 izdanja) i Future Fiction-a (prvo izdanje novemba 1939.) (6 izdanja).

Nakon toga časopis je često menjao svoje ime:

Future Combined with Science Fiction (oktobar 1941. - avgust 1942.) (6)
Future Fantasy and Science Fiction (oktobar 1942. - februar 1943.) (3)
Science Fiction Stories (april 1943. - jul 1943.) (2)
Future Combined with Science Fiction Stories (maj 1950. - novembar 1951.) (10)
Future Science Fiction Stories (januar 1952. - mart 1952.) (2)
Future Science Fiction (maj 1952. - oktobar 1954.) (15)

Iz nekog razloga, isti časopis je od 1955. do svog nestanka 1960. izlazio paralelno (naslovi su se - pod kojim je časopis u to vreme izlazio - smenjivali mesečno (otprilike)) i kao Science Fiction Stories (januar 1955. - maj 1960.) (36) i kao Future Science Fiction (1955. - april 1960.) (21).

Urednik časopisa je bio Robert A. W. Lowndes, jedan od vodećih članova Futurianaca i koji je s Donald A. Wollheim-om, John Michel-om i Frederikom Pohl-om činio takozvani "Kvadrumvirat" (koji je kasnije prerastao u Futuriance).

LM...
Reč urednika, Robert A. W. Lowndes-a, iz pretposlednjeg broja Future Science Fiction-a (februar 1960.):


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Evo malo trivije...

Weird Tales je američki palp časopis (barem bio), primarno usmeren na objavljivanje horora ali i fantastike u raznoraznim oblicima. Prvo izdanje se pojavilo marta 1923. itd, itd... ali sve ovo možete saznati na vikipediji. Ono što tamo ne piše, jeste, sledeće: 1940. je časopis pokrenuo Weird Tales Club (videti: Partners in wonder: Women and the birth of science fiction, 1926-1965 by Eric Leif Davin, strana 65.).

Idemo dalje...

Ko god da je poslao časopisu kovertu s povratnom adresom, dobio je sertifikat o članstvu, postao je punopravni član ovog kluba i ako je imao sreće (i ako tog meseca nije bilo previše aplikanata), ime mu se pojavilo na listi novih članova.

Tako se u januarskom broju 1943. pojavilo jedno poznato ime, tada sedamnaestogodišnjeg momka, u rubrici New Members (Weird Tales kluba, naravno).

Naslovnica:


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Strane 126.i 127.


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Primetićete na strani 127.:

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i da je to prava adresa:

http://chicago.blockshopper.com/notes/1486-hugh-hefner-s-childhood-home (http://chicago.blockshopper.com/notes/1486-hugh-hefner-s-childhood-home)

8-) 8-) 8-) 8-)
Toliko od mene za večeras!

Fantastic Adventures, jun 1940.

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Intervju s Ursulom K. LeGuin iz 1993. (http://www.cbc.ca/writersandcompany/episode/2011/08/28/podcast---28-august-2011---ursula-k-leguin-interview/)

 Malcolm Wheeler-Nicholson




Čitajući ,,The DC Vault", sastavljenog od strane Martina Pasco-a, naleteo sam na ime Malcolm Wheeler-Nicholson-a, negdašnjeg majora u konjici SAD, koji je svojim kritikama vojske navukao na sebe bes ('neznanog') atentatora i nakon ranjavanja bio i sudski gonjen od strane vojske, da bi na kraju napustio istu 1923. i započeo sasvim drugačiju karijeru.


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     Nicholson je, naime, postao pisac palp priča. I izdavač.

     Kako bi zadržao prava na svoje priče/kritike/štagod, 1925. je osnovao izdavačku kuću, Wheeler-Nicholson, Inc., a uvidevši i sve veću popularnost stripova, 1934. i National Allied Publications (NAP) koji je stvorio prvi magazin (nastao delom i pod uticajem nemogućnosti da plati autorima i izdavačima za reprinte njihovih publikacija) s originalnim  strip publikacijama, New Fun: The Big Comic Magazin.


New Fun #1, februar 1935.

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     New Fun se pojavio februara 1935. i sadržaj se sastojao isključivo od originalnih stripova naspram prethodne prakse o izdavanju magazina s reprintima stripova iz raznih časopisa/novina/nedeljnika (postojao je, naravno, i neka vrsta mešavine (proto-strip magazin?), izdat prvi put 1929., The Funnies izdavačke kuće Dell, koji je kombinovao originalne autore i reprinte).

The Funnies #1, januar 1929.

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      Nicholson je imao veliku pomoć mladih autora (kao što je dvojac Siegel-Shuster, koji su se pojavili u šestom broju),

New Fun #6, oktobar 1935.

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     te je nedugo zatim izbacio na tržište i svoje drugo čedo, New Comics (koji se vremenom preobrazio u New Adventure Comics, a kasnije u Adventure Comics), decembra 1935.

New Comics #1, decembar 1935.

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     Treći izdavački poduhvat mu je bio Detective Comics, čiji je prvi broj izašao marta 1937., pri čemu je usled finansijskih problema Nicholson primoran da prihvati pomoć Harry-ja Donenfelda (kome je dugovao povelike pare, a koji je štampao i distribuirao Nicholsonova izdanja) i nastao je Detective Comics Inc. čiji su vlasnici postali Nicholson i Donenfeldov partner Jack S. Liebowitz (a koji su već imali sopstvenu izdavačku/distributersku kuću – Independent News Company). Detective Comics, s brojem 27 (pojavom Batmana) postaje hit, a Nicholson žrtva njegovog uspeha i svojih finansijskih problema.


Detective Comics #1, mart 1937.

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Detective Comics #27, maj 1939.

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     Naime...
     Navodno je Nicholsonovu izdavačku kuću dokusurila Depresija... što i jeste... no cela istina je donekle drugačija... Donenfeld je, naime, poslao Nicholsona i njegovu ženu na krstarenje 1938., na Kubu, kako bi se ovaj odmorio, skupio snagu i došao do novih ideja... a kada se isti vratio, našao je, bukvalno, zaključana vrata svoje izdavačke kuće. Donenfeld je u odsustvu Nicholsona izdejstvovao bankrot Detective Comics Inc.-a na osnovu zaduženja koja su, uistinu, postojala i kupio i DCI (i u paketu) i NAP.
     Još uvek pod imenom stare izdavačke kuće (NAP) izašla je i četvrta publikacija, Action Comics sa sve Supermanom na koricama.

Action Comics #1, jun 1938.

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      National Allied Publications i Detective Comics Inc. su se stopili u National Comics, koji je 1944. smazao i All-American Publications (koji je osnovao Max Gaines i slično DCI-u, imao potporu Donenfelda, a Liebowitz-a kao saosnivača).
     Nedugo zatim, spajanjem National Comics-a, Independent News-a i drugih kuća koji su pripadali Donenfeldu i Liebowitz-u, nastao je National Periodical Publications, a koji je 1977., i zvanično, dobio ime DC Comics.

     Nicholson se vratio pisanju ratnih priča i kritikovanju vojske.



     I nikako da ne povučem paralelu između njega i Hugo-a Gernsbecka. Naime, Malcolm Wheeler-Nicholson je prošao sa svojim originalnim magazinom slično kao i Gernsback s Amazing Stories (koji je bio, ne moram vam objašnjavati, prvi časopis usmeren na izdavanje isključivo naučne fantastike), kada je (navodno) zbog nekog (Gernsback je, prema salonskim pričama, odbio da proda svoje naslove) sukoba s Bernarrom Macfaddenom, isti je naterao Experimenter Publishing u bankrot. I mada je AS preživeo, Gernsback je izgubio kontrolu i nedugo nakon toga, Irving Trust, koji je preuzeo časopis, prodao je prava Teck Publications-u, podružnici Macfadden Publishing-a.
   

     Sve u svemu, dobri stari Hugo je izguran s mesta glavnog u AS od strane snažnijeg izdavača, na nesreću ovog genijalnog entuzijaste (koji se nije predao i lansirao/uredio osim ova dva pomenuta časopisa još pedesetak drugih), a na sreću samog časopisa, pa i naučne fantastike u celosti.
     Srećom...
     Naime, Macfaddenova finansijska snaga je obezbedila preživljavanje Amazing Stories-a tokom Velike Depresije!




     I isto tako je i major izguran iz svog magazina...
     Srećom...

     Jer su Donenfeld i Leibowitz publikaciju koja je prvobitno živela samo od broja do broja pretvorili u DC!

 :!: :-D

(...taman da ne brinem dal' si se uspavao...  :wink: )

Prvi britanski naučnofantastični časopis, Tales of Wonder, izašao je krajem 1937.

Tales of Wonder #1, 1937.

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Ukinut je nakon šesnaest izdanja, 1942., usled nedostatka papira u (ratom zahvaćenoj) Britaniji.



Međutim, postojala je i neka vrsta tabloida pod imenom Scoops, čiji je prvi broj osvanuo 1934., i bio daleko od forme časopisa. Doživeo je dvadeset izdanja i izdahnuo (već juna iste godine) usled nedostatka interesovanja javnosti.

Scoops #10, 14. april 1934.


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U kome je osvanuo članak i o nemačkom cepelinu L. Z. 129 (Luftschiff Zeppelin #129), poznatijem po imenu Hindenburg.


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 Scoops, iliti britanski naučnofantastični magazin koji to nikada nije postao



Kako sam već naveo, Scoops je bio neka vrsta nedeljnog tabloida, koji je više ličio na subotnji dodatak u nekom dnevnom listu, nego samostalan magazin, no sadržavao je u sebi neke osnovne crte onoga što, obično, podrazumevamo pod naučnofantastičnim časopisom, pa da prozborim još par reči o njemu...


Prvi broj je izašao 10. februara 1934., a poslednji, dvadeseti broj, 23. juna iste godine. Nije ostavio upečatljiv utisak na čitaoce i pre je bio neka vrsta eksperimentisanja s novim oblicima obraćanja mladeži nego bilo šta drugo. I taman kada su urednici počeli da dobijaju ozbiljnije priče, Scoops je nestao...


Scoops #20, 23. jun 1934.

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Glodur je bio Frederick Haydn Dimmock, koji je ujedno bio i urednik (1918-1954) uglednog omladinskog časopisa The Scout, dok je izvršni urednik bio Ernest Bernhardt Buley (rodom iz Australije), koji je izdavao svoje radove (anonimno ili pod raznim pseudonimima sve do sredine '60-ih) u više časopisa, nedeljnika i magazina za dečake, kakvi su Chums (koji je imao ulogu u nastanku organizacije ,,British Boy Scouts"), The Champion i Boys Magazine (čiji je i urednik bio, krajem 1920-ih).



Chums, avgust 1930.

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Časopis su zamislili kao novi oblik edukacionog štiva (slično kao i Gernsback s Amazing-om, samo) za mlade momke, nastavljajući tradiciju mnogobrojnih sličnih časopisa, uz tvist da se (očigledno, na primer američkih sajentifikšn časopisa) dečki edukuju u oblasti nauke preko priča vezanih za svemirska i ovozemaljska čud(ovišt)a.


Scoops #5, 10. mart 1934.

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Otud i drastična razlika u naslovnicama. Jer dok su američki časopisi pokušali golicati maštu mladića (koji su im bili glavni konzumenti), Scoops je izrastao iz britanske bigoterije koja je na tinejdžere gledala kao na  glinu koju treba oblikovati u šablonske džentlmene. Sličnih (i veoma popularnih) časopisa je bilo na kilo (Rover, The Gem, Wizard, The Magnet,  Skipper, The Boy's Friend, The Boy's Own...) i svi su se (uglavnom i manje-više) bavili dečačkim školskim dogodovštinama/nestašlucima, sportskim temama, avanturama u dalekim/egzotičnim zemljama ili u britanskim zabitima, a tek su tu i tamo objavljivale priče koje bi se teškom mukom mogli ugurati u žanr naučnofantastičnosti.


The Boy's Own, april 1919.

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Elem, Scoops je bio na pravom putu da postane prvi britanski naučnofantastični časopis. Nedeljnik je bio kombinacija naučnih/kvazi-naučnih editorijala/kvazi-editorijala, priča (bilo serijalizovanih ili nerasparčanih) koje su (na početku, maltene, sve) bile bez naznaka o tome ko su njihovi autori, zatim naučnih/kvazi-naučnih vesti o novostima iz sveta nauke, neizostavni Today Fiction – Tomorrow Fact, a kako se ovaj  nedeljnik/tabloid/informator/štagod razvijao, tako su se pojavile i druge rubrike, tipa: Pisma Čitalaca, ,,Can it be Done?", ,,A.B.C. of Science"...
Naslovnice su bile različito koncipirane, neke nastale pod uticajem triler/horor/svemir/polugolišavka-naslovnica američkih palp časopisa, dok su druge bile odraz fantastičnih ekstrapolacija tadašnje nauke, naravno, obe vrste na britansko-uštogljeno-jednostavni način.

Znači, umesto ovoga:


Weird Tales, septembar 1934.

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ili ovoga:

Astounding, septembar 1930.

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ovo:


Scoops #2

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Scoops #11

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Scoops #14

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Scoops je imao svoje rezident autore (u prvim brojevima, autori dela nisu navođeni – još jedna od odlika magazina za dečake) koji su pisali nastavke serijala pod naslovima kao što su: Space (A. M. Low), Master of the Moon (Bernard Buley) , The Striding Terror (Reginald G. Thomas) ili The Black Vultures (George E. Rochester), ali i autore koji su se pojavili jednom ili samo nekoliko puta u ovom nedeljniku, a koji su takođe svojim pričama dali zvučne naslove, tipa: The Rebel Robots (Charles de Balzac Rideaux), Rocket of Doom (J. H. Stein), Smashing Atoms (D. G. Turner) ili The Iron Woman (Edwy Searles Brooks), a za kojima nisu zaostajali ni naslovi priča čiji se autori ne navode (autori, maltene, većine priča su ostali nepoznati do dana današnjeg...), na primer: Revolt of the Stone Men, The Humming Horror, Ice Metropolis ili The Immortal Man.

Ilustracija priče Revolt of the Stone Men (autor nepoznat), Scoops #11:


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Najpoznatiji autor, čija je priča (The Poison Belt, napisana još 1913.) serijalizovana, bio je Sir Arthur Conan Doyle.
Među drugim istaknutim autorima su John Russell Fearn, autor vesterna, krimića i naučnofantastičnih palp romana/priča pod raznim pseudonimima i jedan od prvih britanskih autora objavljenih u američkom naučnofantastičnom časopisu (The Intelligence Gigantic, Amazing Stories, jun 1933.) i A. M. Low, naučnik i pronalazač, poznat i kao otac radio-navođenih raketnih sistema i kao jedan od prvih koji su predvideli nastanak televizije, a koji je 1976. (dvadeset godina nakon smrti) uvršten u International Space Hall of Fame.
Ali i mnogi, manje poznati, kao: urednik Bernard Buley (već pomenut); Raymond Moore (pod pseudonimom Moore Raymond), autor mnogobrojnih radio-drama, kratkih priča i vestern serijala, no najpoznatiji lik mu je Smiley po kome su snimljena dva filma, od kojih je scenario za prvi film (pisan od strane Moore-a i režisera Anthony-ja Kimmins-a) nominovan za BAFTA nagradu 1957.; Reginald G. Thomas, koji je pisao priče za razne časopise za britanske momčiće, ali i za časopise za britanske devojčice, pod pseudonimima Judy Thomas i Jane Preston; George E. Rochester, britanski ex-vojni pilot prvog svetskog rata, autor više knjiga i priča; Charles de Balzac Rideaux, koji je pisao i detektivske romane pod pseudonimom John Chancellor; Edwy Searles Brooks, koji je napisao mnogobrojne priče i romane (pretežno detektivske) pod raznim pseudonimima; Christopher St. John Sprigg koji je pod pseudonimom Christopher Caudwell pisao poeziju, priče, romane i kritike, rođen kao katolik, a marksista po opredeljenju, i koji je poginuo 1937. (sa trideset godina) u španskom građanskom ratu na strani Međunarodnih Brigada; Maurice G. Hugi, autor objavljivan i u New Worlds-u i u Tales of Wonder-u (i čije je ime Eric Frank Russell koristio kao pseudonim); Stuart Martin, autor detektivskih romana i priča objavljenih u brojnim britanskim časopisima za dečake; Wilfred P. Cockroft, objavljen i u Gernsback-ovom Wonder Stories-u; Stanley H. Nelson, pisac i urednik časopisa Boy's Magazine; J. N. T. Lintott, novinar; i mnogi drugi, manje poznati ili sasvim nepoznati – J. H. Stein, L. B. Silvester, D. G. Turner, Capt. John Willis, Michael Thomas...
(raznobojna gomila, zar ne?) 

Ilustracija priče The Poison Belt-a (Sir Arthur Conan Doyle), Scoops #13:

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Autori većine naslovnica i ilustracija su, takođe, nepoznati. Jedini ilustratori koji su identifikovani, jesu autori naslovnica: Serge Drigin (#1 i #2) - koji je bio veoma uspešan (samouki) ilustrator poreklom iz Rusije i koji je ilustrovao brojne magazine (The Detective Magazine, Air Stories...) ali i knjige, a radio je i kao strip crtač - i E. P. Kinsella (#12), dok su ilustracije unutar časopisa nepotpisane ili (veoma retko) potpisane kao S. D. ili kao Shirley.


Neke od ilustracija:

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Scoops nije bio lišen ni onoga što bi se danas nazvalo samohajpovanjem, te su podnaslovi na naslovnicama bili: ,,Stories of Imagination and Science", ,,Britain's only Science Story Weekly", ,,Amazing Stories of the Wonder World" i ,,Stories of the Wonder-World of Tomorrow" (koji se i zadržao od trinaestog broja pa nadalje). Učestali deo ovoga su bile i razne nagradne igre i izjave uredništva kako: ,,... su zatrpani pismima čitalaca..." ili ,,Scoops će nastojati da predviđa čuda koja nam donosi doba u kome živimo. Te tako opravdati tvrdnju da je nedeljnik sutrašnjice...". I iako su im većina predviđanja bila najobičnija preterivanja, neke su se (u nekom obliku) i obistinile:


(iz rubrike ,,Can it be Done?", brojevi #2, #13, #15, #16 i #20)

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Značajnije rubrike su bile i ,,Here's a Scoop" – editorijal, ,,To the Planets" – kolumna Philip E. Cleator-a o raketnoj tehnologiji (koji je, nakon povratka iz posete Nemačkoj 1933., a pri kojoj je upoznao Willy Ley-a i od koga dobio listu s imenima drugih entuzijasta raketne tehnologije (između ostalih i A. M. Low-a, takođe kontributora pri Scoops-u), osnovao Britansko Međuplanetarno Društvo), članci o velikim naučnim projektima (na unutrašnjoj strani naslovnice), i odeljak s pismima čitalaca. Osim toga, postojale su i rubrike ,,Can it be Done?" (već pomenut ilustracijama), ,,Modern Marvels" (koja je predstavljala naučne/kvazi-naučne ideje ili dostignuća) i razne druge ,,naučne" vesti, kao i nagradne igre.


Uvidevši da im ne ide najbolje, urednici su amerikanizovali svoj časopis promenom naslovnice, štampanjem ozbiljnijih priča, pokušajem da stvore naučnofantastične klubove, ubacivanjem rubrike Pisma Čitalaca, međutim, britanska dečurlija je tada već bila upoznata s ,,američkim načinom" naučne fantastike i ova kozmetika im je izgledala jadno (kao što je i bila) naspram originala.


Nikad stvarno ne uvidevši šta naučna fantastika stvarno predstavlja, urednici su Scoops pretvorili u bledi odraz američkih magazina, upitnog kvaliteta – i objavljenih priča i ,,naučnih" novosti -, usmerenog prema pogrešnoj publici, i na (ne uvek, ali većinom smešno) promovisanje neke vrste futurologije (zasnovane na razmišljanjima urednika koji su bili naučne analfabete – slično Gernsback-u, koji je, doduše, bio naučno obrazovaniji od urednika Scoops-a (i takođe bio fasciniran nekom vrstom futurologije, iznoseći u svojim editorijalima u Amazing-u mišljenja i o naučnim oblastima o kojima nije imao preterano mnogo uvida/znanja)). Imajući sve ovo u vidu, ne čudi da se zanimanje klinaca za ovim časopisom veoma brzo ugasilo.


Osim toga... Scoops je, prema W. O. G. Lofts-u (vrsnog poznavaoca ovog doba i časopisa koji su ga krasili), postao žrtva ne samo opalog zanimanja čitalaštva, već i toga što je štamparija koja je štampala Scoops uvidela da ima i unosnije opcije od štampanja ovog tabloida, što je, ionako, bio samo usputni dil između štamparije i izdavača.

I tako... mogao je postati prvi britanski naučnofantastični magazin. Ali nije.

Jamie Todd Rubin se opet malo zeza sa svojim vremeplovom... (http://www.sfsignal.com/archives/cat_columns/the_wayward_time-traveler.html)  :)  Ovaj put na tapetu je Asimov.


This one took a little more careful planning and I was particularly nervous because I was going to pay a visit to my all-time favorite writer--and one who I never met when he was alive--Isaac Asimov. And here I have to admit that I cheated a bit. To make this work required two trips. First, I made a quick trip back to September 30, 1957 and nervously made a phone call to Dr. Asimov at Boston University. I got him on the line and that Brooklyn accent that I've heard on tape so many times suddenly sounded so real. I told him that I was a reporter, gave him my name and asked him if I could interview him the following week, on Monday perhaps. He agreed and the time was set for his lunch hour, on Monday, November 7, 1957.

Well, he might have to wait a week for the interview, but with a time machine at hand, I did not. I simple adjusted the machine a week forward, giving myself enough time to find his office on the BU campus and before I knew it, I was shaking hands with the man whose science fiction I adored, andwho taught me more science than I learned in all of my schooling (http://www.jamierubin.net/2010/12/16/almost-everything-i-learned-about-science-i-learned-from-isaac-asimov/).
"You're lucky you called ahead," he said to me as we sat down. "After the Soviets put up Sputnik on Friday, my phone has been ringing off the hook."
I wanted to tell him right then that luck had nothing to do with it. He of all people would understand. But I couldn't and I didn't. Instead I said, "What do you make of this--what with the Russians--that is to say, the Soviets--putting up a spacecraft before us?"
"I think it is a wakeup call," Asimov said. "We clearly need better education in mathematics and the sciences. This just goes to show what happens when you fall behind and why these subjects are so important."
"But as a science fiction writer, there must be some kind of excitement for you in seeing mankind make its first attempts at leaving the planet."
"It is exciting, sure. But science fiction alone doesn't get us into space. It is, perhaps, a catalyst for drawing out an interest in science in younger people, and that is a good thing."
"You've been writing a lot of science fiction lately. Indeed, science fiction seems to be an a great boom. Do you have a personal favorite that you've written?"
Asimov considered for a moment and then said, "I think I'm known for my Robot stories and my Foundation stories, both of which have appeared in book form. And 'Nightfall', which appeared more than 15 years ago has become quite popular. But I'd have to say that my own personal favorite at this point is a story I wrote that appeared in Science Fiction Quarterly a few years back called "The Last Question."
"You mentioned your Robot stories: do you think we'll ever have robots like you describe? Thinking robots?"
Asimov smiled, "It depends on what you consider to be a robot and what you consider to be thinking. We have robots now. Sputnik is nothing more than a robot put into space. If space turns out to be a difficult and costly environment for mankind to live and work then most of the work will have to be done by robots."
"Setting nations aside for a moment, do you think robots will beat men to other planets?"
"Absolutely," Asimov said without hesitating. "They will be our scouts, collecting information that we can use to go there ourselves." He glanced at his watch and I realized that time was growing short. But I still had a few questions.
"You still write robot stories but you haven't written a Foundation story in many years. Do you think you'll ever continue that series?"
"I wrote all of the Foundation stories between 1942 and 1950 and by the time I finished the last one, I was burnt out. Did you read those stories?"
"Many, many times,": I said, "They are among my favorites and I wish there would be more. You could have a bestseller on your hands with those yarns."
Asimov laughed. "A science fiction best-seller. Now who sounds like the science fiction writer?" He shook his head. "I wouldn't know where to begin. I think that series is complete as it is."
I tried to keep my mouth shut but the words just came out: "I, for one, would love to know what Hari Seldon was like as a young man. That might make an interesting story."
Asimov considered, "Maybe." He shrugged it off. "The truth is that my interest in writing science fiction is waning even as my interest in writing about science is increasing. If I could help educate people in science through my writing then I'd feel like I was doing a decent public service."
"You're probably right, Doctor Asimov. And just so you know, whether it was science fiction or science--or any other subject you might write about, you've got one fan here who would read it. Thanks so much to agreeing to this interview. Sorry it came at such an inconvenient time."
"It was my pleasure, Mr. Rubin."
That was thirty minutes that I won't forget for a long, long time.

I made an educated guess as to where the 97th World Science Fiction convention would be held. Given that the 97th convention would take place in 2039, it seemed to me there was only one possibility: the Big Apple; New York, New York. It turned out that I was correct, and why not? In addition to being the 97th WorldCon, it was also the 100th anniversary of the 1st WorldCon, a visit to which I've already described. Even guessing when it would take place wasn't difficult: September 1-5, Labor Day weekend.
Finding the hotel in which it took place was a bit more tricky. I figured that once I got to New York, I could hop on the Internet and figure it out but the Internet had changed somewhat, evolved into more of an augmented reality in which (as a quickly learned) special contact lenses were needed to reveal and interact with that reality. It took some practice, but I managed. The most difficult part, of course, was obtaining a membership. There was good reason why I couldn't attend under my own name, and while it is easy to appear to be a journalist in the past when you know what has happened, it is a much trickier thing to do in the future when the last 28 years are an unknown. So I attended as a fan and my name tag (a virtual tag that one could see along with my various social networking statuses thanks to the AR at the hotel) read: DAVID SELIG.It was a relief, of course, to know that science fiction conventions are still taking place 28 years in the future. So often there is talk on the Internet of gloom and doom surrounding the genre, but the convention was still there and well attended. I didn't get the official numbers (I should have) but I'd guess there were in excess of 6,000 people in attendance.
Even the panels hadn't changed much: "Training your Avatar to Give a Good Interview", "Science Fiction Classics: Bane or Boon", "New Thoughts on the Possibility of Time Travel" (I had to smirk at that one.) Men and women, boys and girls crowded the concourses and bars, laughing, arguing, fiercely debating one another, in seemingly complete ignorance of the sweltering heat outside. It was the avatars that took some getting used to. You'd see two people call out to each other from across the room, friends or colleagues who hadn't seen each other in a long time, perhaps, they would approach each other and gesture a handshake, but not actually touch. It took a while, but that's when I realized that one of the two people (and sometimes both) was a simulacrum, hosted somewhere else yet allowing the host to attend virtually.
Eventually, I made my way into the huckster room and smiled: there, spread out on tables as far as the eye could see were books. Not e-books (although there were tables where e-book where available) but I'm talking about physical, paper-based books. And magazines. And chapbooks. And fanzines. Many of them were old, yes, but a fair number of them were fresh off the presses. So much for the death of the book.
What I really came for was the big banquet and I have to say that it took my breath away. I had to be careful because there was a small chance I might be recognized by someone. Indeed, in scouting for an appropriate seat in the decked-out conference center, I bumped into a tall, lankly fellow who glanced at me (not doubt checking out my stats) and said, "David Selig. Very funny." And then went on his way.
That evening was rather spectacular. The keynote speech was given by none other than Grand Master of science fiction, John Scalzi, and there were at least three other Grand Masters in attendance: Robert J. Sawyer, Elizabeth Bear, and Juliette Wade. On the more controversial side were the speeches given by members of the first WorldCon, including Forrest J. Ackerman, Isaac Asimov, Ray Bradbury, and Jack Williamson. Of course, these speeches were made by avatars licensed to the estates of these masters of the genre and while no one said it outright, I gathered that people were still a bit uncomfortable with the notion of the formerly dead being brought back to life, so to speak, in order to make speeches at conventions. When all of the speeches were done, the awards ceremony commenced, but I stepped out at that point. I didn't want to know who won. I'd rather find out the hard way, by living it.
I was glad to have the opportunity to use SF Signal's time machine, but it was time to head home, and to move on to other topics in the history of science fiction. I did linger for a little while, watching the crowd, seeing the smiles on people's faces, noting the passion with which people debated one another. Some things change, and some stay the same.
I suppose the question that lingers out there among some reader is pretty obvious: did you see yourself at the convention? Had you "made it" as a science fiction writer? To that question, I'm afraid all I can say is:
There are some things about the future that I'm just not allowed to reveal.


:lol:  The Wayward Time-Traveler (http://www.sfsignal.com/archives/cat_columns/the_wayward_time-traveler.html)

In 1958, Mike Wallace interviewed Brave New World author, Aldous Huxley... (http://www.youtube.com/watch?feature=player_embedded&v=3TQZ-2iMUR0#at=34)

Over the last year, as I've made my way through myVacation in the Golden Age (http://www.vacationinthegoldenage.com/), I've read stories by a number of writers who I'd never heard of before: Arthur McCann, Phillip St. James, Lee Gregor, Caleb Saunders, Frederick Engelhardt, Kurt von Rachen, Rene La Fayette, Marice G. Hugi, E. Waldo Hunter, and Robert Willey to name just ten or so. Often times, one of the stories by these authors will be particularly striking, and it makes you wonder what happened to them? Why can't I find other stories by that author? Did they just up and quit after a few short pieces inAstounding? Or is something else going on?
As it turns out, in most cases something else is going on. It's been said that a professional fiction writer is a paid liar and so it should come as no surprise that in some instances, even the name that appears on their byline is made up. And so it is for each of the names mentioned above:
Arthur McCann is the pen name John W. Campbell used for non-fiction articles in Astounding. Phillip St. James is Lester del Rey. Lee Gregor is Milton Rothman. Caleb Saunders is Robert Heinlein. Engelhardt, von Rachen and La Fayette are all incarnations of L. Ron Hubbard. Maurice G. Hugi isEric Frank Russell. E. Waldo Hunter is Theodore Sturgeon. And Robert Willey is the pen name thatWilly Ley used for fiction, in particular, a great story called "Fog" (Astounding, December 1940). One name I didn't mention because it has become a well-known pseudonym is Anson MacDonald, a.k.a. Robert Heinlein.

Back in the 1940s, when science fiction was less respectable than it is today, authors occasionally used pseudonyms as a way of hiding the fact that they wrote science fiction. Sometimes, they used a pseudonym to separate their science fiction writing from other types of writing they did. Heinlein used the MacDonald pseudonym for stories that didn't fit into his Future History series, for example. I suspect that a pseudonym was also used from time-to-time to allow a reliable author to have multiple stories in the same issue of a magazine. In 1941 alone, Heinlein and MacDonald appeared in the same issue six times!
In the days before the Internet, I imagine it was easier to keep pseudonyms a secret. Indeed, pseudonyms were only likely exposed by mistake by one of the parties who knew the pseudonym, author or editor. Indeed, there are two instances in which Campbell made this "mistake." In the "In Times To Come" section of the August 1941 Astounding, Campbell announced "By His Bootstraps" byRobert Heinlein as an upcoming story. "By His Bootstraps" did indeed appear in the October 1941 Astounding--under the name Anson MacDonald! In the late 1940s when Isaac Asimov was preparing for his doctor's orals, he'd written a parody of a dissertation, "The Endochronic Properties of Resublimated Thiotimoline" which Campbell wanted to run in Astounding. Asimov agreed but, knowing that his orals were coming up, asked Campbell to run it under a pseudonym, something which Campbell forgot about. Asimov wrote that after his orals were finished, there was one final question for him from the inquisition he faced: "Mr. Asimov, what can you tell us of the properties of resublimated thiotimoline..."
Pseudonyms were also sometimes used by women writing science fiction, the most famous of these being Alice Sheldon's pen name, James Tiptree, Jr. More often women used initials to mask the gender of the author, so you'd get C. L. Moore, for instance. Sometimes, a pseudonym represented a writing team writing under a single name. Lewis Padgett, for instance, was the husband and wife writing team of Henry Kuttner and C. L. Moore. (They also wrote under the name Lawrence O'Donnell, and indeed, Barry Malzberg's pseudonym K. M. O'Donnell is taken from this name.)
It is difficult to say if pen names are equally popular today as they were in the 1940s. We know some, of course. Stephen King wrote under the name Richard Bachman and did so because he wanted to see if he could still sell books without the glow of his name affecting the sales. Robert Jordan was the pen name for James Oliver Rigney, Jr. In writer's circles, I am aware of a few pseudonyms in print today. Sometimes the reasons are similar to seventy years ago: separating the writer from other type of work he or she does. But I think a more common trend today is to use a pseudonym to re-brand a writer whose sales have, perhaps, been sluggish. In many of these cases, it is the publisher, not the writer who desires the pseudonym.
I find the use of pseudonyms fascinating, especially when I read something written under a pseudonym by an author I've read before. In some ways, a pseudonym equals out the playing field by eliminating preconceived notions of what an author brings to the table. Isaac Asimov once received a terrible review for The Caves of Steel only later to receive an excellent review for one of hisLucky Star books by the same reviewer. The reviewer had no idea that Paul French--the name under which the Lucky Star books were originally published--was actually Isaac Asimov. I can see the same happening today, from time-to-time. Writing an occasional short story under a pseudonym might give a writer added confidence in their ability to sell a story of a very different type from what is typically expected from them.
I think the very notion of author branding makes pseudonyms more difficult to use today--unless you start out using one--because the notion of author brand seems to be what publishers focus on.
That said, I still enjoy making little discoveries, reading stories written under pseudonyms that I am unaware of and then discovering (usually to my great surprise and delight) who the story was really written by. It's kind of like finding that toy in the box of Cracker Jacks.


The Wayward Time-Traveler (http://www.sfsignal.com/archives/cat_columns/the_wayward_time-traveler.html)
Posted by Jamie Todd Rubin (http://www.jamietoddrubin.com/)

I sometimes think that the term "Golden Age" leads to the idea that all stories from that era are light or optimistic tales with valiant heroes and happy endings. When we think of Golden Age stories, we tend to think of the most famous stories, many of which came from technological optimists like Asimov, Heinlein and Clarke. The Golden Age bridges a time leading into the Second World War and the boom that followed and the stories reflect the changing mood, just as stories written today reflect the mood of our times. Yet for every Kimball Kinnison, there is a story with a hero more grounded in the realities of the time. And while there are many stories from the Golden Age that convey a sense of optimism, there are a fair number that give us a more realistic view of the world in which they were written.

All of this has been on my mind recently because I'd seen a number of discussions online where the question was asked why there aren't more positively slanted stories in science fiction today? It is a valid question, but one that often seems to be followed by "...like stories from the Golden Age." The type of story a reader desires is a matter of personal taste. But as one who has spent the entire year reading every single issue of Astounding from July 1939 through 1941 as part of my Vacation in the Golden Age (http://www.vacationinthegoldenage.com/), I feel obliged to point out that this perception of the Golden Age is inaccurate. There are plenty of dark stories with nasty characters, anti-heroes and bleak outlooks. Some of these stories are probably ones that you've even heard of.

I've often defined science fiction as stories about the impact of technological change on society. That change can be for better or worse. To set the record straight, I've listed below five relatively famous stories from the early part of the Golden Age that, in my opinion, don't meet the standard definition of the technologically optimistic Golden Age story. The stories are listed chronologically:

• "Trends" by Isaac Asimov (Astounding, July 1939). "Trends" was Asimov's third published story and his first in Astounding. It is the story of humanities first efforts to get to the moon. Asimov's story poses something that hadn't been considered in other stories: popular opposition to the space program. Here, it is not the science that is in question but a nation's will to do what is necessary to take that giant leap forward. At a time when many stories about space travel made it a foregone conclusion, Asimov bucks the tide with a somewhat darker piece.
  

• "Rust" by Joseph Kelleam (Astounding, October 1939). I'd never heard of this short little story prior to reading it as part of my Vacation in the Golden Age. It is the story of three robots on an Earth devoid of all human life. They've been left behind and their parts are failing. One by one, the robots are breaking down, unable to repair one another, until the last one falls down and can no longer get up again and eventually, it "dies." It is a short, haunting story, and surprisingly dark for an early Golden Age story. It was one of the best 1939 stories I came across.
  

• "Final Blackout" by L. Ron Hubbard (Astounding, April - June 1940). Hubbard has a reputation these days for things other than his pulp writing in the early 1940s, but the "Final Blackout" serial was the best thing in Astounding that year. It is the story of an almost-present-day (at the time of the writing) Europe that had been utterly devastated by war. A small band of soldiers is attempting to make their way home to England, led by a man known only as the Lieutenant. They see and do things as a result of the war that they might not otherwise have seen or done. It is one of the darker stories I've come across in Astounding so far and the Lieutenant is anything but the archetypical Golden Age hero.
  

• "Nightfall" by Isaac Asimov (Astounding, September 1941). Asimov again, and one of his most famous stories (and for a long time, one of the most famous stories in all of science fiction). In this story, a group of scientists, and indeed an entire civilization, watch as it destroys itself once again in a cycle of destruction that scientists and philosophers simply cannot seem to prevent. Technological pessimism at its best.

• "Adam and No Eve" by Alfred Bester (Astounding, September 1941). By the early '40s the idea of an atomic weapon had started to permeate the consciousness of the country but no one really knew what kind of effect it might have. "Adam and No Eve" is Bester's attempt to imagine an atomic rocket that is tested--and ultimately ignites the entire atmosphere on fire, killing all life on earth except the pilot of the rocket and his dog. And while there is perhaps the most microscopic hint of hope at the end, we know that hope won't come to fruition for geological timescales.
  

[/list]The stories I chose were all stories between 1939 and 1941 and that was deliberate. That's as far as I've gotten in my Vacation. I also tried to choose stories that were recognizable. But I want to make it clear that these are by no means the only stories that appeared during this time in this darker vain. There were many others. Some of these include stories like "Masson's Secret" by Raymond Z. Gallun (September 1939); "Coventry" by Robert Heinlein (July 1940); "Test of the Gods" byRaymond F. Jones (September 1941); "Fog" by Robert Willey (a.k.a Willy Ley)--although I'll admit that the dystopian picture painted through most of the story was ultimately overcome; "Quietus" byRoss Rocklynne (September 1940); and "Seat of Oblivion" by Eric Frank Russell (November 1941).

I'm not arguing whether or not there should be more optimistic stories today than are currently published. Each person has his or her own tastes. What I wanted to make clear is that the Golden Age isn't always golden. Fiction is often a reflection of the times in which it is written, however distorted that reflection may be. Whether it is optimistic or pessimistic has as much to do with that as it does the mood of the author who wrote it and the editor who bought it. The Golden Age was no different.
[/size]

Jos malo pa 75 godina od prve SF konvencije :)

THE FIRST CONVENTION (1937) (http://www.fiawol.org.uk/fanstuff/THEN%20Archive/1937con.htm)

Prvi deo sovjetskog naučnofantastičnog filma Aelita iz 1924., baziranog na istoimenom delu Alekseja Nikolajevića Tolstoja.

Aelita 1/9 (http://www.youtube.com/watch?v=qL6hG1erfFo#)

Amazing Stories, februar 1935.

Pismo, tada, osamnaestogodišnjeg Artura Klarka.

(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi41.tinypic.com%2F2rrni42.jpg&hash=2d972e98397218786a5e1acacc9546735c74965a)
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi44.tinypic.com%2F5662g.jpg&hash=291647b7f6a2799df28609a4803e5f4375f16bf5)
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Новый Гуливер (1935), sovjetska obrada Sviftovog dela.

http://en.wikipedia.org/wiki/The_New_Gulliver (http://en.wikipedia.org/wiki/The_New_Gulliver)


Новый Гуливер (1935) (http://www.youtube.com/watch?v=zb7_U-HF3AA#)


I mišljenje C. A. Brandta ("kućnog kritičara" A. S.-a tokom tridesetih) o filmu, na stranicama Amazing Stories-a, aprila 1936.


(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi44.tinypic.com%2F18irg2.jpg&hash=c2e2e586c0d45f617decbc9b308490df7cb91782)
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Amazing Stories, jul 1949.


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Amazing Stories, april 1950. Pismo (uredniku AS-a), tada, petnaestogodišnjeg Roberta Silverberga.


(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi42.tinypic.com%2F5wh7dd.jpg&hash=5a08d519b379e0a9f363502544b435e279bb4d9d)




Silverberg je tada i sam bio urednik (zajedno sa Saulom Diskinom) fanzina Spaceship, osnovanog aprila 1949. i često "rivjuisanog" u Amazingu:


Amazing Stories, oktobar 1949.


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Amazing Stories, jul 1951.


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Dva broja ovog fanzina:
http://fanac.org/fanzines/Spaceship/index.html (http://fanac.org/fanzines/Spaceship/index.html)

Za Spaceship #22 je pisao i Harlan Ellison (koji je, takođe, uređivao sopstveni fanzin, Bulletin of the Cleveland S. F. Society).

kratica STF... zanimljivo :)

Da, Gernsbackov uticaj ( http://www.znaksagite.com/diskusije/index.php/topic,9636.msg323296.html#msg323296 (http://www.znaksagite.com/diskusije/index.php/topic,9636.msg323296.html#msg323296) i još par postova ispod) je potrajao dosta dugo. Iako su koristili i science fiction i science-fiction i s-f, a ne scientifiction, stf je imao svoju draž među hardkor fandomašima (barem na engleskom govornom području (mada se u UK, pri počecima nastanka sf-a, koristio izraz scientific romance); bilo da se radilo o piscima, urednicima, fanovima, komegod). I u ovom pismu Silverberg koristi i science fiction i stf.

U tekstu ispod, Peter Dakin, na primer, koristi i stf (samo u naslovu, doduše) i science fiction i science-fiction, pa čak i s-f:

(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi41.tinypic.com%2F11rsqwl.jpg&hash=ea7237cf5c9add549d1d5f25e0579f03baf3898b)


Kada sam pre desetak dana naleteo na jedno pismo Forresta J. Ackermana (oca izraza "sci-fi") u novembarskom izdanju AS-a (1933), pokušao sam da nađem podatak kada su tačno batalili stf i scientifiction, no naišao sam na protivrečnost. Naime, tvrdi se da je izraz stf bio popularan '30-ih, međutim, očigledno je da se "stf" koristio i tokom '50-ih.
Ako iko ima neke informacije u vezi ove teme...  xjap unapred zahvalan  xjap

The Pulp Magazines Project (http://pulpmags.org/) has just posted the first several issues of Amazing Stories (http://pulpmags.org/amazing%20stories_page.html). Read the classic pulp magazine edited by Hugo Gernsback in all its scanned-in glory, with stories by H.G. Wells, Jules Verne, Edgar Allan Poe, Murray Leinster and more.
7 of the early issues are up right now, including the first six (April 1926 – September 1926) plus one additional issue (December 1926). Minus a few missing page scans, you get all the text, all the ads, all the classic sf goodness...

The Radium Age science fiction library (http://boingboing.net/2012/02/14/the-radium-age-science-fiction.html)  By Joshua Glenn (http://boingboing.net/author/joshuaglenn) at 3:30 pm Tuesday, Feb 14 

Several years ago, I read Brian Aldiss's Billion Year Spree (http://www.amazon.com/exec/obidos/ASIN/B0012FFW00/boingboing) -- his "true history of science fiction" from Mary Shelley to the early 1970s. I found Aldiss's account of the genre's development entertaining and informative... but something bothered me, long after I'd finished reading it. So much so that I've since spent hundreds of dollars on forgotten, out-of-print books; I've written dozens of long, scholarly posts about the thing that bothered me so much, for io9 (http://hilobrow.com/tag/io9-josh/) and my own blog, HiLobrow (http://hilobrow.com/tag/radium-age-sf/); and this year I've even launched a money-losing publishing imprint in a quixotic effort to set the record straight.

Aldiss's book is terrific on the topic of science fiction from Frankenstein (http://www.gutenberg.org/ebooks/84) through the "scientific romances" of Verne, Poe, and Wells -- and also terrific on science fiction's so-called Golden Age, the start of which he, like every other sf exegete, dates to John W. Campbell's 1937 assumption of the editorship of the pulp magazine Astounding. However, regarding science fiction published between the beginning of the Golden Age and the end of the Verne-Poe-Wells "scientific romance" era, Aldiss (who rightly laments that Wells's 20th century fiction after, perhaps, 1904's The Food of the Gods (http://www.gutenberg.org/ebooks/11696), fails to recapture "that darkly beautiful quality of imagination, or that instinctive-seeming unity of construction, which lives in his early novels") has very little to say. "Hm," I thought, when I noticed that. "That's an awfully long stretch of science fiction history to overlook, isn't it?"

Aldiss seems to feel that authors of science fiction after Wells and before the Golden Age weren't very talented. He doesn't think much, for example, of the literary skills of Hugo Gernsback (sometimes called the "Father of Science Fiction") who founded Amazing Stories in 1926 and coined the phrase "science fiction" while he was at it. True, Gernsback's ideas were advanced, while his story-telling abilities were primitive. But does that really justify skipping over the 1900s through the mid-1930s? (PS: By my reckoning, Campbell and his cohort first began to develop their literate, analytical, socially conscious science fiction in reaction to the 1934 advent of the campy "Flash Gordon" comic strip, not to mention Hollywood's innumerable mid-1930s Bug-Eyed Monster-heavy "sci-fi" blockbusters that sought to ape the success of 1933's King Kong. They were also no doubt influenced by the 1932 publication of Aldous Huxley's Brave New World (http://www.amazon.com/exec/obidos/ASIN/0060850523/boingboing). In other words, the Golden Age began before 1937; if I had to choose a year, I'd say 1934.) Is Aldiss's animus against that era due solely to style and quality? I suspect not. Billion Year Spree reminds me of one of those airbrushed Soviet-era photos from which an embarrassing historical fact has been excised.

  I read several other histories of science fiction, and looked at sf timelines, and discovered that Aldiss was hardly alone in sweeping pre-Golden Age science fiction under the rug. During the so-called Golden Age, which was given that moniker not after that face, but at the time, as a way of signifying the end of science fiction's post-Wells Dark Age, Campbellians took pains to distinguish their own science fiction from everything that had been published in the genre, with the sole exception of Brave New World, since 1904. In his influential 1958 critique, New Maps of Hell (http://www.amazon.com/exec/obidos/ASIN/0405063210/boingboing) for example, Kingsley Amis noted that mature science fiction first established itself in the mid-1930s, "separating with a slowly increasing decisiveness from [immature] fantasy and space-opera." And in his introduction to a 1974 collection, Before the Golden Age (http://www.amazon.com/exec/obidos/ASIN/0385024193/boingboing), editor Isaac Asimov condescendingly notes that although it certainly possessed an exuberant vigor, the pre-Golden Age science fiction he grew up reading "seems, to anyone who has experienced the Campbell Revolution, to be clumsy, primitive, naive."

We should be suspicious of this Cold War-era rhetoric of maturity! I'm reminded of Reinhold Niebuhr's pronunciamento, at a 1952 Partisan Review symposium, that the widespread utopianism of the early 20th century ought to be regarded as "an adolescent embarrassment." Perhaps Golden Age science fiction's brightest lights -- Asimov, Robert Heinlein, Andre Norton, Clifford D. Simak, C.L. Moore, Ray Bradbury, Frederik Pohl, and so forth -- were regarded as an improvement on their predecessors because in their stories utopian visions and schemes were treated with skepticism and cynicism. Brilliant anti-utopians like Niebuhr, Isaiah Berlin, Hannah Arendt, and Karl Popper were right to point out that pre-Cold War utopian narratives often demonstrated a naive and perhaps proto-totalitarian eagerness to force square pegs into round holes via thought control and coercion. However, I agree with those who argue (http://www.boston.com/news/globe/ideas/articles/2005/11/20/back_to_utopia/?page=full) that the intellectual abandonment of utopianism since the late 1930s has sapped our political options, and left us all in the helpless position of passive accomplices.

So did so-called Golden Age science fiction actually succeed a Dark Age for science fiction? I don't think so. Golden Age science fiction authors and propagandists grew up reading science fiction from the 1904-33 era; it's from that era, as I've discovered in my own reading, that we have inherited such enduring science fiction tropes as the superman, the eco-catastrophe, robots, and the telepath! Sure, some 1904-33 science fiction -- Gernsback, Edgar Rice Burroughs, and E.E. "Doc" Smith, for example -- is indeed fantastical and primitive (though it's still fun to read today). But many other European and American science fiction authors of that period -- including Olaf Stapledon, William Hope Hodgson, Karel Čapek, Charlotte Perkins Gilman, and Yevgeny Zamyatin, not to mention Jack London, Rudyard Kipling, and Arthur Conan Doyle -- gave us science fiction that was literate, analytical, socially conscious... and also utopian. Whatever their politics, Radium Age authors found in science fiction a fitting vehicle to express their faith, or at least their hope, that another world is possible. That worldview may have seemed embarrassingly adolescent from the late 1930s until, say, the fall of the Berlin Wall. But today it's an inspiring vision.

Since I read Billion Year Spree, I've tracked down and read scores of science fiction novels and stories from 1904-33. I've concluded that it's an era of which science fiction historians and fans ought to be proud, not ashamed! I've dubbed this unfairly overlooked era science fiction's "Radium Age" because the phenomenon of radioactivity -- the 1903 discovery that matter is neither solid nor still and is, at least in part, a state of energy, constantly in movement -- is a fitting metaphor for the first decades of the 20th century, during which old scientific, religious, political, and social certainties were shattered. I'm on a crusade to redeem this era's reputation. I've enlisted two visionary bookfuturists (my HiLobrow colleague Matthew Battles (http://metalab.harvard.edu/people/#core), and publisher Richard Nash (https://twitter.com/#%21/r_nash)) and we've started HiLoBooks (http://hilobrow.com/hilobooks/). This year, we're serializing (at HiLobrow) (http://hilobrow.com/tag/serial-fiction/) and then publishing in paperback form six classics Radium Age science fiction titles. The first three -- Jack London's The Scarlet Plague (http://www.amazon.com/exec/obidos/ASIN/1935869507/boingboing), Rudyard Kipling's With the Night Mail (http://www.amazon.com/exec/obidos/ASIN/1935869523/boingboing), and Arthur Conan Doyle's The Poison Belt (http://www.amazon.com/exec/obidos/ASIN/193586954X/boingboing) -- are coming out this spring; they are available for pre-ordering now (http://hilobrow.com/2012/02/08/hilobooks-update-2/). Join the crusade!

The Art of Penguin Science Fiction: Table of contents (http://www.penguinsciencefiction.org/toc.html)

Quote from: Melkor on 15-02-2012, 12:48:34
The Art of Penguin Science Fiction: Table of contents (http://www.penguinsciencefiction.org/toc.html)

Hvala, Melkore!  xjap

Stirring Science Stories je časopis čije se prvo izdanje pojavilo februara 1941, a čiji je urednik bio Donald A. Wollheim. Časopis je bio razdeljen na dva dela, jedan je imao naučnofantastične, a drugi fentezi sadržaje.

Samo četiri izdanja je ugledalo svetlost dana, pa ipak, prema rečima samog Philipa K. Dicka, to je bio časopis koji ga je zainteresovao za svet naučne fantastike, a na koji je slučajno naleteo na jednom kiosku, dok je krenuo po izdanje časopisa Popular Science.


Naslovnica prvog izdanja:


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I reči urednika u fentezi odeljku:

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Bertold Brecht: Radio as a Means of Communication, 1932.

http://www.nyklewicz.com/brecht.html

Interesantni deo počinje na kraju četvrtog i nastavlja se u petom pasusu.

Ako još neko sem mene voli da skuplja fusnote, ovaj tekst je objavljen ovde: Screen (1979) 20(3-4): 24-28 (http://screen.oxfordjournals.org/content/20/3-4/24.extract)
(Verovatno je objavljen još negde ranije, ali ovo sam našla)

Roger Zelazny reads BLOOD OF AMBER (http://www.youtube.com/watch?v=TRQ4wKLfYbc#)






David Barr Kirtley (http://www.davidbarrkirtley.com/blog/?p=3722) has discovered this gem of a video...and recording from the 1986 4th Street Fantasy Convention in Minneapolis, where this Roger Zelazny reading was recorded. It an exceprt from Blood of Ambercalled "Loki 7281 (http://www.isfdb.org/cgi-bin/title.cgi?62491)".
Watch closely for Steven Brust at 1m 48s and 2m 14s and others I should recognize, but don't.

JG Ballard on science fiction, technology and the future (http://www.youtube.com/watch?v=nBq2GqYUVZA#)

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On Dec. 21, 1968, science fiction became science fact when a rocket lifted off from Cape Canaveral, Fla., and shot toward the moon.

Crewed by Mission Commander Frank Borman, Command Module Pilot Jim Lovell, and Lunar Module Pilot Bill Anders, Apollo 8 would become the first manned mission to leave Earth's gravitational influence and orbit the moon. Until that point, science fiction had been our only way to the moon, most notably with Jules Verne's two novels, From the Earth to the Moon (1865) and Round the Moon (1870).

Verne himself was influenced by American author Edgar Allan Poe and his way of putting realistic characters into fantastic situations. Poe's effect on Verne extends beyond his Pym story (https://www.kirkusreviews.com/blog/science-fiction-and-fantasy/strange-tale-edgar-allan-poe-and-jules-verne/), notably with his story "The Unparalleled Adventure of One Hans Pfaall,"which sees a man flying to the moon by way of balloon. The story is even mentioned in From the Earth to the Moon, with the characters cheering Poe's legacy: "This journey [Hans Pfall], like all previous ones, was purely imaginary; still, it was the work of a popular American author—I mean, Edgar Poe!"

Continue reading(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fd3eoifnsb8kxf0.cloudfront.net%2Fbetaimg%2Farrow_right.png&hash=73f952fe49593227b08ce3bb618e4f1899b5f05b) (http://www.kirkusreviews.com/blog/science-fiction-and-fantasy/jules-vernes-moonshot/#continue_reading_post)

Commodore VIC-20 ad with William Shatner (http://www.youtube.com/watch?v=UK9VU1aJvTI#)

Izbor najnaj romana 'zlatnog doba', znaci 50tih:

By the 1950s, science fiction had accreted a variety of modes and conventions, from the pulp adventure of "space opera" to the more rigorous "speculative fiction" (a term introduced by Robert A. Heinlein in 1941) or "social science fiction" (a term favored by Isaac Asimov to refer to fiction depicting social rather than purely technological change).  In addition, a new tradition of satire began to emerge, which Amis labeled the "comic inferno."  Amis mentions Kurt Vonnegut, Jr., whose first novel Player Piano appeared in 1952, but the most prominent practitioner, in his view, was Frederik Pohl, whose collaborative novel with C. M. Kornbluth The Space Merchants had "many claims to being the best science fiction novel so far."

Readers today will undoubtedly have a wide range of views on the question of the decade's "best science fiction novel," and some would surely dispute Amis's contemporary sense of the emerging tradition. The Space Merchants continues to find an enthusiastic audience more than a half century later: part Marx, part Mad Men, it took "space opera" in entirely new directions. Many of the new science fiction novels, like Leigh Brackett's The Long Tomorrow, reflected anxieties over nuclear war and the resulting ambivalence toward technology (and not incidentally, in Brackett's case, prefigured the increasingly significant role women writers would come to play in the genre).  The Cold War was a distinct presence in Algis Budrys's Who?, though the novel also raised questions about the nature of identity that were common in the postwar era of displaced persons (such as Budrys himself) and shifting alliances.  Other writers used science fiction to explore themes of religion (James Blish's A Case of Conscience), future human evolution (Theodore Sturgeon's More Than Human), or the malleability of history (Fritz Leiber's The Big Time). Some deliberately alluded to early popular literary works (The Count of Monte Cristo in Alfred Bester's The Stars My Destination, The Prisoner of Zenda in Robert A. Heinlein's Double Star), or anticipate later developments in science fiction (cyberpunk in the case of the Bester novel, the barely scientific fable-like Twilight Zone mode in Richard Matheson's The Shrinking Man). Taken together, all of these works, and many others, were part of a new and distinctly American literature. By the end of the decade, a field once dominated by short "pulp" fiction had reinvented itself, and expanded the range of "the novel" more generally.


http://www.loa.org/sciencefiction/ (http://www.loa.org/sciencefiction/)

The French Origin of the Science Fiction Genre
by Brian Stableford

Znam da je tekst dugačak i naporan, ne toliko zanimljivo napisan koliko pun činjenica, ali je preporuka za svakog koga interesuje uticaj pojedinih francuskih urednika i izdavača časopisa na pokušaj ustoličenja jednog novog žanra. Naravno, ne radi se o časopisima koji su bili isključivo opredeljeni na izdavanje žanrovskih tekstova već o časopisima koji su dali mesta naučnoj fantastici, obično u obliku serijalizacije.


http://www.nyrsf.com/2012/02/the-origins-of-the-science-fiction-genre-by-brian-stableford.html (http://www.nyrsf.com/2012/02/the-origins-of-the-science-fiction-genre-by-brian-stableford.html)

Quote from: Gaff on 25-07-2012, 16:44:59
The French Origin of the Science Fiction Genre
by Brian Stableford

Znam da je tekst dugačak i naporan, ne toliko zanimljivo napisan koliko pun činjenica,


http://www.nyrsf.com/2012/02/the-origins-of-the-science-fiction-genre-by-brian-stableford.html (http://www.nyrsf.com/2012/02/the-origins-of-the-science-fiction-genre-by-brian-stableford.html)

Tako se piše preporuka! Hvala.

 

QuoteHow Galaxy Magazine Saved Robert Silverberg from a Life of Smoking

http://www.blackgate.com/2012/07/24/how-galaxy-magazine-saved-robert-silverberg-from-a-life-of-smoking/ (http://www.blackgate.com/2012/07/24/how-galaxy-magazine-saved-robert-silverberg-from-a-life-of-smoking/)

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An important figure in the early years of science fiction, Olaf Stapledon is known for some of the genre's greatest works, such as Last and First Men and The Star Maker. Both novels imbue philosophy with speculation and look far into humanity's future. A student of history and philosophy, Stapledon's works show us just how big the universe is around us.

William Olaf Stapledon was born May 10, 1886, in Cheshire, England. At an early age, his family relocated to the Port Said in Egypt. Returning to England, he would study at Oxford before trying to work in the family's shipping business. However, he had a hard time with that career, which prompted his turn to teaching, and he would eventually attend the University of Liverpool. There, he earned his doctorate in philosophy and began writing, turning out his first novel, Last and First Men, in 1930.

Last and First Men follows humanity on its evolution into the future, covering the next 2 billion years and charting mankind's ups and downs. To say that it's an epic novel understates the point significantly.

A year after the book's publication in 1931, Stapledon wrote a letter to H.G. Wells, where he noted Wells' influences on his writing: "Your works have certainly influenced me very greatly, perhaps more than I supposed when I was writing my own book...Your later works I greatly admire. There would be something very wrong with me if I did not. They have helped very many of us to see things more clearly."


Well's response to Stapledon has since been lost, but the pair continued to correspond with one another. Wells noted in 1937 that he enjoyed Stapledon's later novel Star Maker: "Essentially, I am more positivist and finite than you are. You are still trying to swallow the Whole years ago," which thrilled Stapledon.


Following the successes of Last and First Men, Stapledon turned to writing full time and he penned a sequel to Last and First Men, titled, Last Men of London, which helps to explain how the first was written. In both novels, Stapledon explains that there is no heroes in the story save for that of humanity as a whole, and that there's no plot other than their struggles. In a biography that he contributed in the 1942 edition of Twentieth Century Authors, he described his writing as "mostly fantastic fiction of a semi-philosophical kind."


His next novel, Odd John was published just a couple of years later in 1935, examining the plight of an advanced man, and touching on utopian and Darwinist themes. Elements of the book may have been inspired by the attitudes of Wells, who took on similar themes in his books. Sirius, about a dog advanced by science, was published in 1944, and his last novel, A Man Divided, was published in 1950.


However, Stapledon's masterpiece would come in 1937 with the novel Star Maker. Encompassing a period of time that renders Last and First Men insignificant at 500 billion years, it continues Stapledon's efforts to create a modern mythos for humanity. In a large way, Stapledon accomplishes something similar to what fellow British author J.R.R. Tolkien strove to accomplish with his novels.


Stapledon's works come just before the beginning of a major movement in the genre with the pulps. The cheap magazines, which contained flashier stories, overtook the earlier stories and their complicated ideas. However, his work was not unrecognized, most notably influencing authors such as Arthur C. Clarke, who would invite Stapledon to speak for a meeting of the fledgling British Interplanetary Society. Clarke would later note in a review for Last and First Men: "No book before or since ever had such an impact on my imagination." Indeed, echoes of Stapledon's works can be found in Clarke's own, such as in Childhood's End, and 2001: A Space Odyssey.


In a large way, Stapledon's collective works all attempt to capture a major yet simple idea: searching for one's creator and discovering just how one fits into the much larger picture. Taken together, Sirius, Odd John, Last and First Men, The Last Men of London and Star Maker all look to vastly grand scales, microcosms of one another. Where one individual works to come to terms with their existence, so, too, does the entirety of mankind as they advance and expand into the stars.

http://www.kirkusreviews.com/blog/science-fiction-and-fantasy/looking-far-far-future-olaf-stapledon/ (http://www.kirkusreviews.com/blog/science-fiction-and-fantasy/looking-far-far-future-olaf-stapledon/)

 Pismo Stanley-a Kubrick-a Arthur C. Clarke-u

http://www.lettersofnote.com/2012/07/the-proverbial-really-good-sci-fi-movie.html (http://www.lettersofnote.com/2012/07/the-proverbial-really-good-sci-fi-movie.html)

The Saturn Awards winners have been announced! The award took place yesterday in Burbank, with Rise Of The Planet Of the Apes and Super 8 managing to bag three of the awards each, and Fringe and Breaking Bad leading the TV awards as well. Hosted by The Academy Of Science Fiction, Fantasy & Horror Films, the highly prestigious 38^th annual Saturn Awards are given to the best in such genre fiction, to films and TV that have helped to enhance the genre in which they belong.

FILM AWARDS

Best Science Fiction Film: Rise Of The Planet Of The Apes
Best Fantasy Film: Harry Potter And The Deathly Hallows, Part 2
Best Horror/Thriller Film: The Girl With The Dragon Tattoo
Best Action/Adventure Film: Mission: Impossible – Ghost Protocol



:shock: xfoht

Eto kako su se snimali specijalni efekti u Langovom Metropolis-u:

http://blogs.smithsonianmag.com/paleofuture/2012/07/1927-magazine-looks-at-metropolis-a-movie-based-on-science/ (http://blogs.smithsonianmag.com/paleofuture/2012/07/1927-magazine-looks-at-metropolis-a-movie-based-on-science/)

Uh, pogresila sam topik sa prethodnim postom...  :oops:

Nego, mislim da je ovo vec negde bilo ali ne mogu da iskopam: deo prepiske izmedju Ursule LeGuin i James Tiptree Jr.




7 Apr 71

Dear Ursula Le Guin,

Your LATHE OF HEAVEN overcame me to such an extent that I wrote you, while roosting on a beach in Yucatan, a 3-page hand-writ effusion which thank god I didn't send. When I came to reread it I was nauseated—it sounded exactly like [the novel's villain,] Doctor Haber.

You know—aggressive admiration, endless citations of beauties (showing I'd read every single word twice), fatal fluency—the whole Haber bag.

All I want to say is thank you very much for writing something so beautiful.

Your LEFT HAND OF DARKNESS bowled me over, but LATHE swept me out to its deep green sea.

Now I'll quit before I start going on about the jellyfish and the piece of white heather in the glass.

Except for this: Please, it would distress me to think I'd wasted your writing time answering this. I'm sure you know that expressing this kind of admiration is its own reward.

Strength to your arm & all good wishes,

James Tiptree Jr.


15 May 71

Dear Mr. Tiptree,

You categorically forbade me to answer your letter, so you must understand that this is not an answer. It is not to express appreciation of your letter, and it doesn't say how tickled I am that you liked the jellyfish. (Very few people seem to share my feeling for jellyfish.) It also doesn't say how much I like your stories.

Yours, insincerely,





Ursula Le Guin





20 July 71

Dear Ursula Le Guin,

How wicked of you not to not answer my fan letter and now I can't not tell you how piggishly I joyed in CITY OF ILLUSION & revelled in EARTHSEA. Not to mention not going on about the splendid turtles and the enviable French diseases of the soul....

The plain fact of the matter is that I'd buy an old telephone directory if it bore your name on the cover.

Now Madam, it behooves us to pull up our socks and back to our typewriters (especially yours) and no more idle chafferings with fans (especially yours). We will, you know, keep.

Yours aye,





21 VII 71

Dear James T.,—Tip—

Are you sure we will keep? I add a little pickling pretty often just to be sure.

I am about to take the bus out to a small somnolent college in the country where four young people and I are pretending to have a Workshop in Writing Science Fiction for three weeks, and in my English string shopping bag (I seem not to have a briefcase) is the latest "Phantasmicom" with "And Shooby Dooby Dooby"* in it, which I am going to read to them. The last thing I had them do, see, was a space ship containing 3 to 8 assorted entities &/or persons, mostly conversing. They enjoyed this but have had some trouble with it (mostly that you can't tell entities from non-entities). So here comes Shooby. My God. Look, children. See: This is how it is done!

But how did you know I needed it?

This is NOT an answer to your letter.—Please write us some stories this summer, I can't.

Ursula

c/o Bradley Lodge

Florence, Wisc. 54121

(Temp. address of no significance)

[*"Shooby" was later retitled "And So On, and So On" and appears in the Tiptree collection Her Smoke Rose Up Forever.]


24 Aug 71

Dear Ursula:

Your letter followed me up to the North Woods & cheered me so I out-howled 2 owls—imagine that tale being of some use to somebody ... & what a somebody.

Wish you could have heard the owls—the horned ones have their amok time now, no simple whoo-whoos but a wild cold aurora of maniacs yelling & babbling in counterpoint—HAH HAH I'LL EAT THAT SQUIRREL NO I'LL EAT THAT SQUIRREL HA HA HEE HI OO WA NO I YOU I HO HO Typewriter founders.

David Bunch just sent me his new MODERAN book, a mean treat. I've long felt he was one of the most undersung and ill-known landmarks in sf ... not much beam-width compared say to Cordwainer Smith but oh what intensity at the focus, what idiosyncrasy, what a one roaring diamond glimpse [...]

Wonder if you like him too ... I'm sure we share one solid admiration, i.e., the phenomenon known as Philip K. Dick. As I guess I said at length in that same PHANTASMICOM. Wish I had the brains to do real reviews & understand about writing like J. Russ and all the other people who scare me. & whom I prize.

The owls seem to have got the prose style, for the great Orc's sake do not repeat not answer THIS one.

Yrs aye,

Tip


For over a year, the two writers went on exchanging warm, funny notes and postcards. (Some of Tiptree's are now lost.) The jellyfish of the first letter became a squid, because they hide in clouds of ink, and appeared in the drawings that Le Guin added in the margins. Then in the fall of 1972, Tiptree answered a note with a 5-page letter that made the correspondence turn serious.


15 IX 72

Dear Tip,

Don't worry, I never received your card! That's why I'm not answering it now. What I can't remember is did I already nominate "The Milk of Paradise" for a Nebula or did I just intend to. I have paved miles on the road to Hell—Well, I can tell next time they print the list up. As for The Dispossessed, my edita has left Scribners in a snit, with my MS, and vanished. Isn't that bully? There are times I think everybody in New York is really a vug.

Inordinately,

Ursula

ccc besramno flertovanje  :evil:

Der Orchideengarten ('The Orchid Garden'; subtitled Phantastische Blatter or 'Fantastic Pages') was a German magazine that was published for 51 issues from January, 1919 until November, 1921.^[1] Founded four years before the American magazine Weird Tales (http://en.wikipedia.org/wiki/Weird_Tales) was initiated during March 1923, it is considered to be the first fantasy magazine.^[2] Also described as largely 'supernatural horror', it was edited by World War I correspondent and freelance writer Karl Hans Strobl (http://en.wikipedia.org/wiki/Karl_Hans_Strobl)^[3] and Alfons von Czibulka (http://en.wikipedia.org/wiki/Alfons_von_Czibulka),^[4] published by Dreiländerverlag. It had 24 pages per issue printed on rough book paper.^[1]
The magazine included a wide selection of new and reprinted stories by both German-language and foreign writers. The main source of the translated material Der Orchideengarteen published was French literature; Der Orchideengarten published works by such authors as Voltaire (http://en.wikipedia.org/wiki/Voltaire), Charles Nodier (http://en.wikipedia.org/wiki/Charles_Nodier), Guy de Maupassant (http://en.wikipedia.org/wiki/Guy_de_Maupassant), Théophile Gautier (http://en.wikipedia.org/wiki/Th%C3%A9ophile_Gautier), Victor Hugo (http://en.wikipedia.org/wiki/Victor_Hugo), ^[5] Villiers de l'Isle-Adam (http://en.wikipedia.org/wiki/Villiers_de_l%27Isle-Adam) ^[6] and Guillaume Apollinaire (http://en.wikipedia.org/wiki/Guillaume_Apollinaire). ^[7] Other noted writers such as Apuleius (http://en.wikipedia.org/wiki/Apuleius), ^[8] Charles Dickens (http://en.wikipedia.org/wiki/Charles_Dickens), Pushkin (http://en.wikipedia.org/wiki/Pushkin), Edgar Allan Poe (http://en.wikipedia.org/wiki/Edgar_Allan_Poe), Washington Irving (http://en.wikipedia.org/wiki/Washington_Irving), Amelia Edwards (http://en.wikipedia.org/wiki/Amelia_Edwards), ^[1] Nathaniel Hawthorne (http://en.wikipedia.org/wiki/Nathaniel_Hawthorne), H. G. Wells (http://en.wikipedia.org/wiki/H._G._Wells), Valery Bryusov (http://en.wikipedia.org/wiki/Valery_Bryusov) and Karel (http://en.wikipedia.org/wiki/Karel_Capek) and Josef Capek (http://en.wikipedia.org/wiki/Josef_Capek) were all published in Der Ochideengarten. ^[5] German language writers for the magazine included Strobl, H.H. Schmizt (http://en.wikipedia.org/w/index.php?title=H.H._Schmizt&action=edit&redlink=1), Leo Perutz (http://en.wikipedia.org/wiki/Leo_Perutz) and Alexander Moritz Frey (http://en.wikipedia.org/w/index.php?title=Alexander_Moritz_Frey&action=edit&redlink=1), ^[8] as well as reprinted stories by E. T. A. Hoffmann (http://en.wikipedia.org/wiki/E._T._A._Hoffmann). ^[6] Illustrations included reproductions of medieval woodcuts (http://en.wikipedia.org/wiki/Woodcuts) and pictures by Gustave Dore (http://en.wikipedia.org/wiki/Gustave_Dore) and Tony Johannot (http://en.wikipedia.org/wiki/Tony_Johannot), as well as contemporary artists such as Rolf von Hoerschelmann (http://en.wikipedia.org/w/index.php?title=Rolf_von_Hoerschelmann&action=edit&redlink=1) (1885-1947), Otto Linnekogel (http://en.wikipedia.org/w/index.php?title=Otto_Linnekogel&action=edit&redlink=1) (1892-1981), Karl Ritter (http://en.wikipedia.org/w/index.php?title=Karl_Ritter_%28artist%29&action=edit&redlink=1) (1888-?), Heinrich Kley (http://en.wikipedia.org/wiki/Heinrich_Kley), Alfred Kubin (http://en.wikipedia.org/wiki/Alfred_Kubin), ^[5] Eric Godal (http://en.wikipedia.org/w/index.php?title=Eric_Godal&action=edit&redlink=1) (1899-1969), Carl Rabus (http://en.wikipedia.org/w/index.php?title=Carl_Rabus&action=edit&redlink=1), (1898-1982) (famous for his work in the magazine Jugend (http://en.wikipedia.org/wiki/Jugend_%28magazine%29)) ^[8] Otto Nückel (http://en.wikipedia.org/wiki/Otto_N%C3%BCckel) and Max Schenke (http://en.wikipedia.org/w/index.php?title=Max_Schenke&action=edit&redlink=1) (1891-1957). ^[8]


http://www.arthurmag.com/2009/10/29/der-ochideengarten/ (http://www.arthurmag.com/2009/10/29/der-ochideengarten/)

Here's a buncha high-res cover scans from "Der Ochideengarten," arguably the world's first fantasy magazine, published in Germany 1919-1921, courtesy of our friend Will Schofield at A Journey Round My Skull (http://ajourneyroundmyskull.blogspot.com/2009/10/watering-toxic-garden.html). Click on images to greatly enlarge.
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fwww.arthurmag.com%2Fmagpie%2Fwp-content%2Fuploads%2F2009%2F10%2FOrchid_cover01-726x1024.jpg&hash=348187d9cb6cda825041b7341706320074700bbf) (http://www.arthurmag.com/magpie/wp-content/uploads/2009/10/Orchid_cover01.jpg)
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fwww.arthurmag.com%2Fmagpie%2Fwp-content%2Fuploads%2F2009%2F10%2FOrchid_cover04-745x1024.jpg&hash=4823a33d6219d75cca280ed68fb37cdf27e6dfbc) (http://www.arthurmag.com/magpie/wp-content/uploads/2009/10/Orchid_cover04.jpg)
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fwww.arthurmag.com%2Fmagpie%2Fwp-content%2Fuploads%2F2009%2F10%2FOrchid_cover12-724x1024.jpg&hash=ac4a29437fa0d63b84bea7cd71c6cbaac2f19201) (http://www.arthurmag.com/magpie/wp-content/uploads/2009/10/Orchid_cover12.jpg)
Some background on Der Orchideengarten from Will:
The World's First Fantasy Magazine – Der Orchideengarten (http://ajourneyroundmyskull.blogspot.com/2009/07/worlds-first-fantasy-magazine-der.html)
Illustrations from Der Orchideengarten, the World's First Fantasy Magazine (http://ajourneyroundmyskull.blogspot.com/2009/07/illustrations-from-der-orchideengarten.html)
More images from Der Orchideengarten are up now over at John Coulthart's feuilleton (http://www.johncoulthart.com/feuilleton/2009/10/28/der-orchideengarten-illustrated/) site....and Will has just added another clutch at A Journey Round My Skull (http://ajourneyroundmyskull.blogspot.com/2009/10/watering-toxic-garden.html)! That should keep you busy.
More high-res cover scans after the jump...

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http://50watts.com/The-Worlds-First-Fantasy-Magazine-Der-Orchideengarten (http://50watts.com/The-Worlds-First-Fantasy-Magazine-Der-Orchideengarten)

itd...

hmm
dosutupno u bečkoj biblioteci
http://data.onb.ac.at/rec/AC07592113 (http://data.onb.ac.at/rec/AC07592113)

bibliografija
http://data.onb.ac.at/rec/AC08572451 (http://data.onb.ac.at/rec/AC08572451)
http://www.amazon.de/exec/obidos/ASIN/3934273831/mediamania00-21/ (http://www.amazon.de/exec/obidos/ASIN/3934273831/mediamania00-21/) (dvanes evara)

a evo i jedna pričica The Tomb of Père Lachaise by Karl Hans Strobl (http://www.scribd.com/doc/30416194/The-Tomb-of-Pere-Lachaise-by-Karl-Hans-Strobl#)

Vielen Dank, mein Freund! Es ist unglaublich!  :-| xjap :-|

Quote from: zakk on 31-07-2012, 22:15:02
hmm
dostupno u bečkoj biblioteci

hmmm  :lol:
Za ovo sam čula, ali nikad do sada nisam videla kako je izgledalo, stvarno odlične naslovnice.

Predviđanja SF autora iz 1987. o 2012. godini.

(ako bi se nanovo pravila neka slična vremenska kapsula, ono što je napisao Jack Williamson 'ladno bi se moglo ubaciti i u ovu novu kapsulu)

http://www.writersofthefuture.com/time-capsule-predictions (http://www.writersofthefuture.com/time-capsule-predictions)

The First Ever Cosplay Photos, From the 1890s

http://io9.com/5930367/the-first-ever-cosplay-photos-from-the-1890s (http://io9.com/5930367/the-first-ever-cosplay-photos-from-the-1890s)

Frederik Pohl se priseća kako je upoznao Roberta Sheckley-a.

http://www.thewaythefutureblogs.com/2012/07/robert-sheckley/ (http://www.thewaythefutureblogs.com/2012/07/robert-sheckley/)

Francuska 2000. godine. Ilustracije Jean-Marc Côté-a i drugih autora iz 1899/1900/1901/1910.

http://publicdomainreview.org/2012/06/30/france-in-the-year-2000-1899-1910/ (http://publicdomainreview.org/2012/06/30/france-in-the-year-2000-1899-1910/)

(a ima na sajtu još svega interesantnog)

Mark Twain 1909.

Mark Twain at Stormfield, 1909 (Edison film) (http://www.youtube.com/watch?v=leYj--P4CgQ#)


http://archive.org/details/MarkTwainSilentMovie1909 (http://archive.org/details/MarkTwainSilentMovie1909)

Lepo. Sinoc sam napokon pogledao Huga i sad mi je ovo bas leglo!  :-D

Meni se Hugo mnogo svideo. Jedina mana  filmu je sto je uloga onog inspektora/policajca na stanici data Sachi Baron Cohenu  :roll:. Da je mene neko pitao  ;) xrofl mislim da bi Jean Reno odlicno odigrao tu ulogu i film bi izgledao bar 5% bolje .

Mene su klinci smorili.. Preterali su ,  qpuke   Slavko Stimac bi ovde pokidao! Obe uloge!!!  :!:

A kakva će da nam bude budućnost?

A Timeline of Future Events by Jane Hu


http://www.theawl.com/2012/08/a-timeline-of-future-events (http://www.theawl.com/2012/08/a-timeline-of-future-events)

Prve štampane reči George R. R. Martin-a. Fantastic Four #20 (Fan Page), novembar 1963.


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Pismo Ray-a Bradbury-a u kome opisuje nastanak priče koja je bila osnova za Fahrenheit 451 (sa sajta Letters of Note).


http://www.lettersofnote.com/2012/06/all-of-my-friends-were-on-shelves-above.html (http://www.lettersofnote.com/2012/06/all-of-my-friends-were-on-shelves-above.html)

DeNardo na Kirkusu: Mars in Science Fiction (Part 1)  (http://www.kirkusreviews.com/blog/science-fiction-and-fantasy/mars-science-fiction-part-1/)

Prva filmska adaptacija Modernog Prometeja.


Frankenstein (1910) - Full Movie (http://www.youtube.com/watch?v=TcLxsOJK9bs#)


Archive.org (http://archive.org/details/FrankensteinfullMovie)

Wiki (http://en.wikipedia.org/wiki/Frankenstein_%281910_film%29)

Mars! Mars! Mars!  :)

Today at Kikrus, I continue with my survey of Mars in science fiction (http://www.kirkusreviews.com/blog/science-fiction-and-fantasy/mars-science-fiction-part-2/). (Part 1 is here (http://www.kirkusreviews.com/blog/science-fiction-and-fantasy/mars-science-fiction-part-1/).)

A ni Liptak ne zaostaje: On the Kirkus Reviews Blog, we take a look back over the last couple of months to review some of the foundational stories in science fiction: The Science Romances.  (http://www.kirkusreviews.com/blog/science-fiction-and-fantasy/rounding-out-science-romances/)

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DeNardo:  Today at Kikrus, I conclude my survey of Mars in science fiction (http://www.kirkusreviews.com/blog/science-fiction-and-fantasy/mars-science-fiction-part-3/). (Continued from Part 1 (http://www.kirkusreviews.com/blog/science-fiction-and-fantasy/mars-science-fiction-part-1/) and Part 2 (http://www.kirkusreviews.com/blog/science-fiction-and-fantasy/mars-science-fiction-part-2/).)

Part 3 focuses on young Martian colonies, humor, and good old-fashioned adventure. Stop by and check out Part 3 of Mars in Science Fiction (http://www.kirkusreviews.com/blog/science-fiction-and-fantasy/mars-science-fiction-part-3/).

Ray Bradbury FBI File: Sci-Fi Legend Suspected Of Communist Sympathies

(by Huffington Post)

QuoteBradbury's suspected activity was reported to the bureau by screenwriter Martin Berkeley, who claimed that science fiction writers were prone to being Communists and that the genre was uniquely capable of indoctrinating readers in Communist ideologies. "He noted that some of Bradbury's stories have been definitely slanted against the United States and its capitalistic form of government," according to the file.

A popular writer like Bradbury was positioned to "spread poison" about U.S. political institutions, Berkeley told the FBI. "Informant stated that the general aim of these science fiction writers is to frighten the people into a state of paralysis or psychological incompetence bordering on hysteria which would make it very possible to conduct a Third World War in which the American people would seriously believe [sic] could not be won since their morale had been seriously destroyed."

http://www.huffingtonpost.com/2012/08/28/ray-bradbury-fbi-file-_n_1837199.html#s1062818 (http://www.huffingtonpost.com/2012/08/28/ray-bradbury-fbi-file-_n_1837199.html#s1062818)

Audio zapisi panela s prvog World Fantasy Convention-a, 1975 (via Internet Archive).

QuotePanel discussions recorded at the First World Fantasy Convention, held in Providence, Rhode Island (home of the late H.P. Lovecraft) in 1975. First panel with fantasy & horror authors about how they came to write fantasy and supernatural fiction. Moderated by cartoonist Gahan Wilson, authors include Joseph Payne Brennan, Robert Bloch, Frank Belknap Long and Manly Wade Wellman (speaking in that order).

http://archive.org/details/FirstWorldFantasyConvention1975 (http://archive.org/details/FirstWorldFantasyConvention1975)

J. R. R. Tolkien: Namárië

J.R.R. Tolkien reads .... _A Poem In Elvish_ (http://www.youtube.com/watch?v=UOZPWpUAX0U#)

Техника-молодежи

(via The World SF Blog via Flavorwire via Socialism Expo Flickr)

http://www.flavorwire.com/326527/trippy-70s-soviet-space-magazine-covers?all=1 (http://www.flavorwire.com/326527/trippy-70s-soviet-space-magazine-covers?all=1)

Deluge (1933)

Quote'Deluge' is a now almost-forgotten early American disaster movie made in 1933. For decades, it was thought that all prints had been lost, but an export version, dubbed into Italian and shortened by ten minutes, was found in the 1980s, and is now available on NTSC VHS tape (there is no DVD release available, sadly).

Deluge (1933) (http://www.youtube.com/watch?v=kAFQcEnUxhs#)

Koga interesuju stari časopisi sa SF-om, na limundu imaju tri broja časopisa "Moji romani" u kojima je bilo SF priča.
Oni se relativno teško nalaze, ali ih je moguće sakupiti - ja imam sve brojeve osim, mislim, poslednjeg...


http://www.limundo.com/kupovina/Casopisi-Stripovi-Igre/Casopisi/Dnevne-novine/Moji-romani-1958-god/6300056 (http://www.limundo.com/kupovina/Casopisi-Stripovi-Igre/Casopisi/Dnevne-novine/Moji-romani-1958-god/6300056)


Ovi su na preskok, ali dobri za početak sakupljanja...

Oh, Science Fiction Horror Films...How Far We've Come!

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Heather Massey of The Galaxy Express (http://www.thegalaxyexpress.net/) clued me in to this trailer for a 1960s film — and I use that term loosely — for The Wild Wild Planet, a film that was being billed as the first science fiction horror film. I guess since it features hideous human experimentation (like fusing together a man and a woman to eradicate all the imperfections) we are supposed to overlook the terrible film-making. I mean, I guess I can see the direct lineage between this and, say, the Alien franchise...but not without copious amounts of alcohol and hallucinatory drugs.

Check out the trailer and see for yourself. But don't say I didn't warn you...


Wild Wild Planet (1965) Trailer (http://www.youtube.com/watch?v=SB3SszYjEmA#ws)

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Ray Bradbury: Story of a Writer is an illuminating TV documentary that was produced by David L. Wolper and aired in 1963.
The documentary also includes a dramatization of Bradbury's story "Dial Double Zero", about the emergence of an artificial intelligence.




Ray Bradbury: Story of a Writer (1963) on Vimeo (http://vimeo.com/47986980)

Carl Sagan, Stephen Hawking and Arthur C. Clarke - God, The Universe and Everything Else (1988) (http://www.youtube.com/watch?v=HKQQAv5svkk#)

YouTube user Th9Dave has been posting some gems lately. In addition to the recent audio memorial of

Charles Beaumont by Harlan Ellison, Richard Matheson, Roger Anker, and Chris Beaumont (http://www.sfsignal.com/archives/2013/01/listen-to-harlan-ellison-richard-matheson-roger-anker-and-chris-beaumont-memorialize-author-charles-beaumont/),

he's posted even more. These come from Hour 25, a radio program focusing on science fiction, fantasy, and science that ran from 1972 to 2000. It has been hosted at various times by Mike Hodel, Harlan Ellison, Steven Barnes, Arthur Byron Cover, and J. Michael Straczynski.

Below you can find audio interview snippets with Steven Barnes, Octavia Butler, Terry Dowling, David Gerrold, Tim Powers and Jim Blaylock, and Robert Silverberg.


A Host of Classic SF/F Author Interviews From the Hour 25 Radio Show (Butler! Powers! Silverberg! And More!) (http://www.sfsignal.com/archives/2013/01/a-host-of-sff-classic-author-interviews-from-the-hour-25-radio-show-butler-powers-silverberg-and-more/#more-70353)

 Dreams of Space - Books and Ephemera  (http://dreamsofspace.blogspot.ca/)   

Non-fiction children's space flight books 1945-1975.

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http://andrewliptak.com/ (http://andrewliptak.com/)


Women are vastly underrepresented in science fiction circles, especially back in the pulp days. While many point to Mary Shelley (http://www.kirkusreviews.com/blog/science-fiction-and-fantasy/meeting-geneva-birth-frankenstein/), her role is a real influence, but still removed from the modern science fiction market. As we move further up in time, the pulp era saw the first professional female authors who would continually shake up the genre. Catherine Lucille Moore was one of the earlier authors to have been writing, with her first stories published in the early 1930s.

Researching C.L. Moore was an a frustrating, but rewarding endeavor. Up until now, I've put together a fairly good go-to list of books for background information on my subjects, which generally requires some additional research by combing through author or book specific texts. In this instance, C.L. Moore is largely ignored by most SF History scholars. When mentioned, it's often in the context of being married to her husband, Henry Kuttner, who's generally considered a lesser author. There is no formal biography, and the information that I found for this piece was spread out among a number of sources – a bit of information here, a bit there, and so forth.

More research was – and is – needed. Contacting Indiana University's archives, I found the existence of three previously unknown stories, and other online searches found a considerable amount of anecdotal information on Moore and her works.

Read up on The Many Names of Catherine Lucille Moore over on Kirkus Reviews (https://www.kirkusreviews.com/features/many-names-catherine-lucille-moore/).

The Recorded Voice Of Virginia Woolf (http://www.youtube.com/watch?v=E8czs8v6PuI#)

QuoteThis is the only surviving recording of Virginia Woolf's voice. It is part of a BBC radio broadcast from April 29th, 1937. The talk was called "Craftsmanship" and was part of a series entitled "Words Fail Me".
The audio is accompanied by a slideshow of photographs of Virginia Woolf.

Quote from: Gaff on 13-02-2013, 13:49:34

QuoteThis is the only surviving recording of Virginia Woolf's voice. It is part of a BBC radio broadcast from April 29th, 1937. The talk was called "Craftsmanship" and was part of a series entitled "Words Fail Me".
The audio is accompanied by a slideshow of photographs of Virginia Woolf.

Nismo ni znali koliko smo te se uželeli  xjap

Hvala, hvala...

Nadam se da ovo nije bilo:

Arthur Conan Doyle Interviewed on Sherlock Holmes and Spirituality

Arthur Conan Doyle Interviewed on Sherlock Holmes and Spirituality (http://www.youtube.com/watch?v=XWjgt9PzYEM#)

Quote1930 interview with Sherlock Holmes writer Sir Arthur Conan Doyle. Believed to be the only filmed interview with Conan Doyle. He talks about Holmes and Spiritualism.

Quote from: Gaff on Yesterday at 12:49:34 (http://www.znaksagite.com/diskusije/index.php/topic,9636.msg491539.html#msg491539)

QuoteThis is the only surviving recording of Virginia Woolf's voice. It is part of a BBC radio broadcast from April 29th, 1937. The talk was called "Craftsmanship" and was part of a series entitled "Words Fail Me".
The audio is accompanied by a slideshow of photographs of Virginia Woolf.




[/size]Nismo ni znali koliko smo te se uželeli  [/size]


+1

Staviću ovo i ovde, jer, ipak je to - u neku ruku - pogled u prošlost.  ;)

Firefly 10th Anniversary Browncoats Unite (http://www.youtube.com/watch?v=3e1dHyie-Q0#ws)

Orson Welles razgovara s H. G. Wells-om. Godina 1940.


Orson Wells Meets HG Wells (http://www.youtube.com/watch?v=nUdghSMTXsU#)


A kad smo već kod njih, evo i "zajedničkog im poduhvata".


Radio drama Rat svetova. Godina 1938.

Orson Welles - War Of The Worlds - Radio Broadcast 1938 - Complete Broadcast. (http://www.youtube.com/watch?v=Xs0K4ApWl4g#)

Se sećate 1981. godine? Jbt, tries godina prošlo!  :-?


1981 primitive Internet report on KRON (http://www.youtube.com/watch?v=5WCTn4FljUQ#)

Octavia E. Butler (rekao bih, 1984., i nažalost kratko)

Octavia Butler interview (http://www.youtube.com/watch?v=KSipet5Rnpw#)

"Clothes make the man. Naked people have little or no influence on society." Mark Twain


Mark Twain, 1883 (via Open Culture) (http://www.openculture.com/2013/02/mark_twain_shirtless_in_1883_photo.html)

John Campbell Jr., 'Astounding Magazine' and the Start of the Golden Age

At the beginnings of the 20th century, science fiction entered the pulp era with a bang: Hugo Gernsback was one of many editors who had created major avenues for authors to publish an enormous volume of science fiction stories, while authors such as Edgar Rice Burroughs and E.E 'Doc' Smith wrote numerous and long stories that found a major audience, while others, such as C.L. Moore (https://www.kirkusreviews.com/features/many-names-catherine-lucille-moore/), inspired by the stories that she read in pulp magazines, began to write their own fiction. In 1938, science fiction would run into another personality who would change science fiction again: When 28-year-old author John Campbell Jr. was hired to edit Astounding Magazine. Campbell's influence in the magazine market is commonly cited as the beginning of the so-called Golden Age of Science Fiction, and represented a major shift away from the conventions of Gernsback's pulp era.

In December 1929, L.W. Clayton introduced Astounding Stories of Super Science, designed to compete with the new, dedicated science fiction market that Gernsback's Amazing Stories magazine helped to put forward. Edited by Harry Bates, the magazine was a typical offering in the pulp era, featuring science action stories, a cheap price and flamboyant covers. In 1931, the magazine simply became Astounding Stories.

John W. Campbell Jr. was born in 1910, and had become a notable science fiction author in his own right throughout the pulp era. His first story, "When the Atoms Failed," was published in the January 1930 issue of Amazing magazine and was followed by a number of other stories in a similar vein before shifting to a new, less campy style in 1934 under a pseudonym, Don A. Stuart. Along the way, he attended the Massachusetts Institute of Technology in Cambridge and Duke University in North Carolina, eventually earning a degree in physics in 1932. With few positions for physicists available, he continued to write, eventually producing some well-known stories, such as "Who Goes There?," which would eventually be filmed three times as The Thing from Another World and The Thing (in 1982 and 2010).

In 1933, as the Great Depression took hold in the United States, the Clayton magazine chain hit hard times. Astounding had been shifted to a bimonthly schedule to help save money, but it was too little, and too late: The publication vanished from the newsstands abruptly. However, by October, Astounding was sold to another company, Street & Smith, who placed one of their veteran editors, F. Orlin Tremaine, in charge of the magazine. Tremaine brought the magazine to new heights: continuing the pulp elements of the publication, boosting circulation with popular features such as a new sequel to E.E. 'Doc' Smith's Skylark series and popular authors such as C.L. Moore and Don A. Stuart. By 1934, Astounding magazine became the leading SF publication on the market.

Continue reading > (http://www.kirkusreviews.com/features/john-campbell-jr-astounding-magazine-and-start-gol/#continue_reading_post)

"About Time" mini-dokumentarac o Brian W. Aldiss-u


About Time on Vimeo (http://vimeo.com/59980686)

Hunter S. Thompson u trci za mesto šerifa Aspena, 1970.


http://www.myspace.com/video/vid/80955 (http://www.myspace.com/video/vid/80955)

A 1735 science-fiction story synopsis – from the scientist who was and invented Celsius (http://scifiportal.eu/a-1735-science-fiction-story-synopsis-from-the-scientist-who-was-and-invented-celsius/)


(via Ahrvid Engholm via Europa SF)

Evo ovako... da se vratimo malo palpovskim korenima.

U novopokrenutom časopisu Galaxy's Edge, Mike Resnick - u rubrici "Reč urednika" - iznosi nekoliko interesantnih anegdota, dogodovština, i tako sličnog iz palp ere.


http://www.galaxysedge.com/ked.htm

Preneo bih ovde jednu, s napomenom da ovo nije bukvalni prevod već sam, manje-više, prepričao događaj.




                                  Predskazanje u rubrici "Pisma čitalaca"


1948.
Novembar.
Časopis Astounding.
Rubrika "Pisma čitalaca".
A u njoj pismo Richard-a A. Hoen-a.

Fenboj - naizgled -, kao i svaki drugi, Richard je s nemalim entuzijazmom hvalio časopis i kvalifikovao priče u njoj na osnovu sviđalističkih kriterijuma. I tako, na prvom mestu se - kao najbolja po njegovom mišljenju - našla priča Don A. Stuart-a (pseudonim John Campbell-a), "We Hail"; Heinlein-ov "Gulf" se našao na drugom mestu; A. E. van Vogt-ov "Final Command" na trećem; Lester del Rey-eva priča "Over the Top" na četvrtom; a L. Sprague de Camp-ov "Finished" završila (pun intended) na petom. Kao najgoru, označio je Theodore Sturgeon-ovu priču "What Dead Men Tell".
Pohvalio je naslovnicu, rad Hubert Rogers-a, i svašta još, vezano za časopis.


Ali za novembarsko izdanje za 1949. godinu! Naravno, ovih priča nije bilo ni u prethodnom, ni u novembarskom izdanju Astounding-a!




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Pomenuti pisci su sve to propratili uz osmeh i uskoro zaboravili.
Ali ne i urednik, John Campbell.



Kada je osvanuo novembarski broj Astounding-a 1949. godine... pa možete da pogađate! Campbell je "naterao" - u pismu pomenute - pisce da napišu priče istih naslova!

I tako, pismo od pre godinu dana se naizgled obistinilo, te je njenu naslovnicu potpisao Hubert Rogers, a časopis sadrži sve pomenute priče (sem priče Don A. Stuart-a, koja je zamenjena prvim delom iz serijala Asimovljeve priče "And Now You Don't").
(dodao bih samo da se u pismu pominje i neimenovani članak iz pera R. S. Richardson-a, koji se takođe pojavio u "predskazanom" izdanju)



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      I tako, ko kaže da naučna fantastika nema sposobnost predviđanja!?

Could the ancient Romans have built a digital computer?

The Romans were undoubtedly master engineers. They were experts at civil engineering, building roads, improving sanitation, inventing Roman concrete, and constructing aqueducts that adhere to tolerances impressive even by today's standards. Perhaps the best evidence of their aptitude is the fact that many of those structures still stand today, almost 2000 years later. They even began dabbling in technology vastly ahead of their time. Hero of Alexandria drew up plans for a rudimentary steam engine in his Spiritalia seu Pneumatica. He called it the aeolipile.


(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fwww.hscott.net%2Fwp-content%2Fuploads%2F2013%2F02%2FAeolipile_illustration-197x300.png%3F_cfgetx%3Dimg.rx%3A200%3B&hash=3ff3036c1ffdc5e8c355664c5518a5ec22951f05)


It didn't work very well. However, by the late 3rd century AD, all essential parts for constructing a steam engine were known to Roman engineers: Hero's steam power, the crank and connecting rod mechanism (in the Hierapolis sawmill (http://en.wikipedia.org/wiki/Hierapolis_sawmill)), the cylinder and piston (in metal force pumps), non-return valves (in water pumps) and gearing (in water mills). That got me thinking: Could the Romans have built a digital computer using only the technology and manufacturing processes available to them?

Maybe the first thing you would think of is a mechanical computer, like the Babbage Difference Engine:

(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fwww.hscott.net%2Fwp-content%2Fuploads%2F2013%2F02%2Fwelcome-babbageengine-300x200.jpg%3F_cfgetx%3Dimg.rx%3A300%3B&hash=5531fd2e62e2c742d32d933aeb6ceb3342124394)

ostatak na:
http://www.hscott.net/could-the-ancient-romans-have-built-a-digital-computer/ (http://www.hscott.net/could-the-ancient-romans-have-built-a-digital-computer/)

Evo još jedne priče iz predratnog časopisa "Reč i slika":


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Znaš li možda ko je autor?

ne

The Time Eliminator, pisac Kaw
izašla u Amazing Stories 1926.
Očigledno pseudonim, ne zna se čiji.
Još jedna priča potpisana sa Kaw je izašla 1926. u Ghost Stories - Through a Haunted Loud Speaker.

Gugl mi je najbolji prijatelj.  xnerd

Ahaha, bila si brža od mene :) (http://sf-encyclopedia.com/entry/time_viewer)

Ja sam našla na drugom mestu, i postavila bih sliku stranice iz knjige ovde, ali ima žig da je copyrighted material, pa ne znam da li smem.  :shock:

Uglavnom, knjiga je The Gernsback Days, našla sam na google books.

Smeš, naravno. Ovo je Sagita. Davaj tu sliku...


Ovo mi se dopada! Neko je pratio Amazing Stories 1926. u Beogradu i objavio priču godinu dana od izlaženja!


Gaffe, ima li negde taj broj skeniran?

Ima. Ali ja više nemam onu listu linkova.

Lm, nije pod kopirajtom. Prošao je kopirajt, a obnovljen je na neka izdanja tek iz 1954, a neke priče iz 1932. Kopirajt na sam naslov (Amazing Stories) je ponovo preuzet te je nemoguće štampati išta novo ili reprintovati neko izdanje.

(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi49.tinypic.com%2F2mg9x95.jpg&hash=a14e2a062f49736cb62c6a07c8c7fa83295689ca)(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi45.tinypic.com%2Fxp28pi.jpg&hash=63f6afcbfef5ec218d2e9e913a4d0fb56152e162)

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Веома занимљиво. Ова преузета илустрација потврђује моју претпоставку да је прича преузета директно из Amazing Stories.
Друге две илустрације су, очигледно, дело наших илустратора и по стилу су сличне осталим илустрацијама у часопису Реч и слика.
Превод је сасвим пристојан и очигледно следи оригинал.

Јевтро, да ли знаш да ли је неко изучавао популарне часописе средином двадесетих и анализирао одакле су преузимали приче?
Моје несистематично и аматерско прелиставање тих часописа (Забавник илустрованог листа, Криминална библиотека, Илустровано време, итд.), док сам покушавао да нађем научнофантастичне приче за нашу библиографију, углавном ми је указивало на француске изворе, мада сам наилазио и на текстове очигледно преузете са немачког и енглеског говорног подручја. Али то је више осећај него нешто друго.

Ух. Колико овде има простора за истраживање...

(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fbooks.google.rs%2Fbooks%3Fid%3Ddn3OixmZI6wC%26amp%3Bpg%3DPA87%26amp%3Bimg%3D1%26amp%3Bzoom%3D3%26amp%3Bhl%3Den%26amp%3Bots%3DOti6ygQloy%26amp%3Bsig%3DACfU3U1taeq22wBzdZHPQhXMPvjFiBGx0w%26amp%3Bw%3D685&hash=81cb97e589d2cf2173ac07447b6ebd58868d5bce)
Ja postavljam pa šta bude.
Evo i link za google books: http://books.google.rs/books?id=dn3OixmZI6wC&printsec=frontcover#v=onepage&q&f=false (http://books.google.rs/books?id=dn3OixmZI6wC&printsec=frontcover#v=onepage&q&f=false)

Devedeset godina Weird Tales-a (http://weirdtalesmagazine.com/2013/03/01/90-years-of-weird-margaret-brundage-cover-gallery/)


(via Weird Tales Magazine)

AŠ - naučna fantastika (1974)


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Zona sumraka - Aman, gde su svi nestali?!

(pilot epizoda)


The Twilight Zone (1959) - Where Is Everybody? (Full) (http://www.youtube.com/watch?v=HWgLiuDAaAw#)

Popular Science, maj 1933. (http://books.google.rs/books?id=8ScDAAAAMBAJ&printsec=frontcover&hl=sr#v=onepage&q&f=false)

(samo zbog krave na strani 33)

Videće krave, kad ih se dohvate prevodioci Popular Science Serbia, da li će i dalje ostati krave...

Gaff

QuoteZona sumraka - Aman, gde su svi nestali?!

(pilot epizoda)

Zdravo Gaff,

ispravio bi samo ovo pilot epizoda "Zone sumraka". Naime, u (odličnoj) knjizi "The Twilight Zone Companion" imaš opis toga kako je ovo postala prva epizoda serijala, iako tehnički nije bila pilot. Rod Serling je, zahvaljujući dramama "Patterns" i seriji "Playhouse 90" stekao dovoljno ugleda da CBS-u ponudi šta želi. U želji da pokrene svoju seriju, dao im je scenario SF drame "The Time element" koju je napisao nakon diplomiranja. CBS je otkupio scenario i pilot serije (odnosno epizoda "The Time Element") je emitovan 1958. godine. Konfuzija nastupa zato što je ova epizoda prikazana kao dio serije "Westinghouse Desilu Playhouse", iako se radilo o pilotu za "Twilight Zone" na osnovu koga CBS prihvatio seriju. Resume: prva epizoda serije "Twilight Zone" jeste "Where Is Everybody", ali to nije njen pilot, već je to epizoda "The Time Element".

Inače sam prije par mjeseci pročitao knjigu, a i reprizirao originalni 1959-1964 run (dvadesetak minuta - dušu dalo za doručak i zdrav početak dana), pa mi je svježe :). Pozdrav.

Interesantno! Nisam znao za ovo. Zahvaljujem.  xjap

Razglednice/dopisnice poznatih autora (http://www.vintag.es/2012/10/postcards-from-famous-authors.html)

via vintage everyday

Douglas Adams. 14. februar 1985.

(slavio bi rođendan juče)


Douglas Adams on David Letterman (14 February 1985) (http://www.youtube.com/watch?v=SF2fZ2iOXhk#)



Майор Юрий Гагарин. 11. jul 1961.

(samo zato što bi i on slavio rođendan pre par dana)


Yuri Gagarin on BBC TV, July 11 1961 (http://www.youtube.com/watch?v=KSvAe7_GjJM#ws)

Chesley Bonestell - umetnik koji je oslikao budućnost (http://io9.com/the-artist-who-helped-invent-space-travel-452436111)

via io9

Weltraumschiff I Startet...    (1937)


Spaceship #1 Starts on Vimeo (http://vimeo.com/61548549)


Es ist genial! Genial, ich sage!

Prosto mi toplo oko srca :)
Evo odlomka iz prve nemačke naučnofantastične TV serije: Raumpatrouille Orion - Tanz den Rücksturz (Teil 1 von 7) (http://www.youtube.com/watch?v=V_DN_eOfyMg#) U pozadini se vidi, er, popularni ples budućnosti...

Vielen dank für diese information!

So...


Šta kažeš onda na ovako nešto:

https://www.youtube.com/watch?v=FGcIy76N9sY&list=PLzHU_tXEXXB4Xde-mbHx7JVf0l0Pkexwy&index=1 (https://www.youtube.com/watch?v=FGcIy76N9sY&list=PLzHU_tXEXXB4Xde-mbHx7JVf0l0Pkexwy&index=1)

Pa, mogu samo da kažem - presmešno. Mislim, to sigurno može i ozbiljno da se gleda i ocenjuje, ali meni je urnebesna kombinacija Zvezdanih staza (ovo je iz iste godine?!), darkokraljićevskog pop-džeza i nemačkih dijaloga  :lol: :lol: :lol:

Star Trek, early convention at Northglenn Mall 1976 (http://www.youtube.com/watch?v=inpFEbrlICo#)

Pronašao sam još jednu priču u časopisu Reč i slika - decembar 1926.
Priča je potpisana kao H. G. Vels - Na dnu okeana.
Inače, u pitanju je priča "In the Abyss" iz 1896. godine za koju mislim da nije nigde drugde objavljena kod nas

Frau im Mond - Fritz Lang, 1929. (https://www.youtube.com/watch?v=d5iepdXGAsA&list=PL4FB248C9DB344D5B)

Ne radi mi. Da li i vama?

Šta ti ne radi?

Kad kliknem dobijem poruku


The webpage at [/size]https://www.youtube.com/watch?v=d5iepdXGAsA&list=PL4FB248C9DB344D5B[/size] might be temporarily down or it may have moved permanently to a new web address.

Ako je Internet Explorer moguće da ima neke veze sa security podešavanja, pošto je https link.
Oće li ovako (samo se izbaci 's' iz 'https'):
1 - Frau im Mond - 1929 - Lang (http://www.youtube.com/watch?v=d5iepdXGAsA#)

Oce.

Stvar je u tome da ako izbacim s sa kraja https onda ne izbaci ceo plejlist i ne nastavi automatski na sledeći već stane nakon prvog dela (od trinaest).

Zato sam ostavio kao https.

The last public message recorded by Sir Arthur C Clarke (http://www.youtube.com/watch?v=oF2z5-kTm2I#)

Fotografije sa snimanja  (http://www.retronaut.com/2012/03/behind-the-scenes-of-metropolis-1925-1926/)Metropolis-a (http://www.retronaut.com/2012/03/behind-the-scenes-of-metropolis-1925-1926/)

via Retronaut

Albert Einstein čita svoj esej "The Common Language of Science" (http://www.openculture.com/2013/03/listen_as_albert_einstein_reads_the_common_language_of_science_1941.html)

via Open Culture

Pošto me scallop stalno kritikuje što kupujem knjige po buvljacima, evo dokaza da tamo zaista mogu da se nađu i nemoguće stvari.
I nek' vam on objasni zašto je ovo gotovo nemoguće...


(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fimg801.imageshack.us%2Fimg801%2F7582%2Fcopyofzemljatif.jpg&hash=5ce24f1fe4ab2479c7a718850b481ca099958321)

Свака част теби. Која ли је будала продала нешто што постоји у десетак примерака?


ПС. Напомињем да је илустрација једна од мени дражих БоБових, а оригинал ми виси на зиду. У примерку постоји још четири и на једној је аутопортрет Бобов из времена кад је био мршав или је тако себе, мршавог, замишљао.

Mićo, svaka čast! :)

:)

Ovo izdanje "Zemlje za dobre ljude" je urađeno u 16 primeraka "za prijatelje". Svaki primerak je potpisan od strane Boba i Radmila.
Nažalost, ne smem da skeniram Bobove ilustracije, jer bi se primerak raspao.


Naravno da ovo nije prodao niko ko bi znao šta prodaje.
Verovatno je bio u posedu nekoga ko je prestao da se zanima za SF (tipa Billy Trey-a), pa je dospeo u podrum i odatle na buvljak...
Ili je, nedaj bože...


PS. Ovaj primerak koji sam kupio se razlikuje od mog primerka, jer je korica žućkasta (za bate), a moja je rozikasta (za seke).
Pored toga, u ovom primerku su, posle romana, uvezane fotokopije nekih tvojih priča, dok je u mom primerku samo roman...

Odličan ulov, čini mi se! Iz koje je ovo godine?

Iz 1988. I u mom primerku su i fotokopije mojih objavljenih priča do tada. Ne znam da li je 25. godina dovoljno za Vremeplov.


Mićo, originali ilustracija su mi na zidu i Boban i ti možete da ih snimite.

1986.

Bemti progresivna stakla na cvikerima. Mićini cvikeri su bolji.

Ursula K. Le Guin - I Levu ruku tame je neko odbio da kupi (http://www.ursulakleguin.com/Reject.html)

via Ursula K. Le Guin

Frank Zappa - The Talking Asshole (from Naked Lunch) (http://www.youtube.com/watch?v=_MsO1FLYee8#)

Philip K. Dick o filmu Blade Runner (http://www.philipkdick.com/new_letters-laddcompany.html)

via Philip K. Dick . com

Prisoners of Gravity: Epizoda o žanrovskim nagradama

QuoteCommander Rick discusses awards with the award-winners: science fiction writers John Brunner, Samuel R. Delany, Harlan Ellison, William Gibson, Joe Haldeman, Nancy Kress, James Morrow, Jerry Pournelle, Kristine Kathryn Rusch, and Lisa Tuttle, the only writer to ever decline the Nebula Award (for her story, "The Bone Flute"), plus writer Neil Gaiman, mystery author Sharyn McCrumb, and comic book artist Dave Gibbons.

Prisoners of Gravity: Awards (Part 1 of 3) (http://www.youtube.com/watch?v=-M0uT6WhJsQ#)


Prisoners of Gravity: Awards (Part 2 of 3) (http://www.youtube.com/watch?v=wj__fULRfR8#)


Prisoners of Gravity: Awards (Part 3 of 3) (http://www.youtube.com/watch?v=dXsaAnkEuFI#)

Walt Disney se vozika


Walt Disney - Home Movie Footage by Ward Kimball (http://www.youtube.com/watch?v=uI7q_x9uGiQ#)

Popular Science izdanja od 1872-2009 (http://books.google.rs/books?id=qR8DAAAAMBAJ&source=gbs_all_issues_r&redir_esc=y)

via Google Books




Popular Science arhiva (izdanja i članaka) (http://www.popsci.com/archives)

via Popular Science (PopSci)

znam da je ovo negde stavljeno, ali ne mogu da odolim, zaista:

Quote




Dear Miss Kidd, 


Ursula K. Le Guin writes extremely well, but I'm sorry to
have to say that on the basis of that one highly distinguishing quality alone I
cannot make you an offer  for the novel. The book is so endlessly complicated by
details of reference and information, the interim legends become so much of a
nuisance despite their relevance, that the very action of the story seems to be
to become hopelessly bogged down and the book, eventually, unreadable. The whole
is so dry and airless, so lacking in pace, that whatever drama and excitement
the novel might have had is entirely dissipated by what does seem, a great deal
of the time, to be extraneous material. My thanks nonetheless for having thought
of us. The manuscript of The Left Hand of Darkness is returned herewith.
Yours sincerely, 


The Editor 


21 June, 1968

:mrgreen:  [url=http://www.ursulakleguin.com/Reject.html]http://www.ursulakleguin.com/Reject.html (http://www.ursulakleguin.com/Reject.html)[/url]

Nisam video. Dopalo mi se. Podsticajno.

Pa eno osam postova iznad.

I šta nije tačno od onoga što je The Editor napisao  :)

Quote from: Gaff on 08-04-2013, 14:50:33

Pa eno osam postova iznad.

Izvini, ali mi čupanje iz linkova nije jača strana. Libeat je imala bolju ponudu. Pročitao sam sa uživanjem i slažem se sa Mićom: Šta je siroma' pogrešio?

(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fws.assoc-amazon.com%2Fwidgets%2Fq%3F_encoding%3DUTF8%26amp%3BASIN%3DB006TKOUGA%26amp%3BFormat%3D_SL160_%26amp%3BID%3DAsinImage%26amp%3BMarketPlace%3DUS%26amp%3BServiceVersion%3D20070822%26amp%3BWS%3D1%26amp%3Btag%3Djamefmcgrshom-20&hash=ccde6d2042664cd7201091f642f747d33ceb7125)

Sense of Wonder – A Century of Science Fiction

Sense of Wonder is a broad, inexpensive, single-volume anthology designed to give students a sense both of literature and history. By far the most comprehensive speculative fiction textbook available, Sense of Wonder includes canonical works, stories written in response to those works, and essays on major themes and topics in the field. The book will facilitate a variety of different types of speculative fiction course, whether the course is focused on particular themes, on a chronological look at writers, or on the roots of contemporary SF. Beginning with nineteenth-century and early twentieth-century writers,Sense of Wonder continues up through the most acclaimed present-day writers. Stories are not treated as purely academic exercises, but contextualized, which is vital in reading a genre where most writers know each other and the relationship between writer and reader is a major factor in how stories are created.

The collection includes 225 stories, poems, and bibliographic essays (contributed by professors who teach science fiction and by SF professionals), with an emphasis on the roots of modern SF. Each story author is given a biographical introduction as well.


Features

   
• By far the most comprehensive teaching anthology available for SF – at about two million words it's more than twice as long as competing works.
• Available in both book and ebook editions – Only $49.99 for the book and $39.99 for the ebook (or $69.99 for a book and ebook bundle). [NOTE: currently on sale on Amazon.com for $22.79 (http://www.amazon.com/gp/product/B006TKOUGA/ref=as_li_ss_tl?ie=UTF8&camp=1789&creative=390957&creativeASIN=B006TKOUGA&linkCode=as2&tag=jamefmcgrshom-20)]
• A wide variety of stories by both major names and lesser-known but influential writers.
• Dozens of essays introducing topics in the field, ranging from space opera to cyberpunk, from early radio dramas to postcolonial SF, from John W. Campbell and his writers to disability in science fiction. Essays are by SF professors, scholars of the field, and SF professionals.
• A generous sampling of science fictional poetry – an important part of the field that's often missing from textbooks.
• Short biographical introductions to each author
• An appendix geared to aspiring SF writers, with overviews on submitting manuscripts, literary agents, avoiding publishing scams, writers' workshops, and more.

Table of Contents

Introduction


Early Science Fiction ( -1926)
Edgar Rice Burroughs, from A Princess of Mars
The Origins of Science Fiction (Jennifer A. Rea)
Samuel Butler, from Erewhon
Karel Capek, R.U.R. (play)
George Allan England, "The Thing from-Outside"
Hugo Gernsback and His Writers (Richard Bleiler)
D. H. Lawrence, "Robot Poems" (poem)
Mina Loy, "Lunar Baedeker" (poem)
Edgar Allan Poe, "Mellonta Tauta"
On the Baroque in Science Fiction (Thomas F. Bertonneau)
Mary Wollstonecraft Shelley, from The Last Man
Nineteenth-Century Science Fiction (Monique R. Morgan)
Jean Toomer, "Her Lips Are Copper Wire" (poem)
Jules Verne, from Off on a Comet!
Science Fiction and Hidden Histories of Science (Katherine Pandora)
H. G. Wells, "The Time Machine"
Dark Futures and Dystopias (Matthew Crom)
Evgenii Zamyatin, from We
Russian and East European Science Fiction (Sibelan Forrester)


The Field Takes Shape (1926-1936)
Miles J. Breuer, "The Gostak and the Doshes"
American Science Fiction Magazines (Hildy Silverman)
John W. Campbell, "Who Goes There?"
John W. Campbell and His Writers (Zahra Jannessari Ladani)
Clare Winger Harris, "The Diabolical Drug"
H. P. Lovecraft, "At the Mountains of Madness" and
"Harbour Whistles" (poem)
The Lovecraft Circle (Dennis H. Barbour)
Laurence Manning, "The Man Who Awoke"
Philip Francis Nowlan, "Armageddon-2419 A.D."
Science Fiction on Radio (Tim DeForest)
Nat Schachner, "Pirates of the Gorm"
Clark Ashton Smith, "Afterwards" and "The Star-Treader" (poems)
E. E. "Doc" Smith, from The Skylark of Space
Space Opera (David Steiling)
Donald Wandrei, "The Red Brain"


The Golden Age (1936-1945)
Isaac Asimov, "Nightfall" and "The Martian Way"
Gender Images in Science Fiction (Twila Yates Papay and Paul D. Reid)
Stephen Vincent Benet, "By the Waters of Babylon,"
"Nightmare for Future Reference" (poem)
Fredric Brown, "Arena"
L. Sprague de Camp, "A Gun for Dinosaur"
Dinosaurs in Science Fiction (Tim DeForest)
Lester Del Rey, "The Wings of Night"
Lester and Judy-Lynn Del Rey (Frederik Pohl)
Raymond Z. Gallun, "Old Faithful"
Edmond Hamilton, "The Sargasso of Space"
Robert A. Heinlein, "The Green Hills of Earth"
Andre Norton, "All Cats Are Grey"
Young Adult Science Fiction (Carol Franko)
Frederik Pohl , "Day Million"
Conventions and Fandom (Sheri Giglio)
Clifford D. Simak, "Grotto of the Dancing Deer"
Theodore Sturgeon, "Microcosmic God"
A.E. van Vogt, "Black Destroyer"
Space Travel in Science Fiction (Steven Mollmann)
Stanley G. Weinbaum, "A Martian Odyssey"
Jack Williamson, "The Firefly Tree" and "The Metal Man"


The Mass Market Era (1945-1960)
Poul Anderson "Duel on Syrtis"
Alfred Bester "Fondly Fahrenheit"
Cyborgs (Kyle William Bishop)
James Blish "Surface Tension"
Anthony Boucher, "The Quest for St. Aquin"
Science Fiction Book Reviewing (Tom Easton)
Leigh Brackett, "The Last Days of Shandakor"
Algis Budrys, "The Stoker and the Stars"
Science Fiction in Western Europe (Sonja Fritsche)
Arthur C. Clarke, "The Sentinel"
Science Fiction Film: The Forbidden Genre (Daniel M. Kimmel)
Hal Clement, "Uncommon Sense"
World Building (Donald M. Hassler)
Avram Davidson, "Or All the Seas with Oysters"
Philip K. Dick, "The Defenders"
Robots (Amerdeep Singh)
Gordon R. Dickson, "Soldier, Ask Not"
Philip Jose Farmer, "Riverworld"
Religion and Science Fiction (James F. McGrath)
Tom Godwin, "The Cold Equations"
Zenna Henderson, "Loo Ree"
The Science Fiction of Death, Dying, and Grief (Kathleen Fowler)
Frank Herbert, "Rat Race"
Damon Knight, "The Country of the Kind"
C. M. Kornbluth "The Little Black Bag"
Fritz Leiber, "A Bad Day for Sales"
Murray Leinster, "First Contact"
Aliens and Alien Worlds (Ericka Hoagland)
Richard Matheson, "Born of Man and Woman"
Judith Merril, "That Only a Mother"
Walter M. Miller Jr., "Death of a Spaceman"
After the End: Post-Apocalyptic Science Fiction (Irene Sywenky)
Ward Moore, "Bring the Jubilee"
Alternate History (Andrew M. Gordon)
Edgar Pangborn, "The Golden Horn"
H. Beam Piper, "Graveyard of Dreams"
Eric Frank Russell, "Allamagoosa"
Science Fiction in the UK (Nick Hubble)
James H. Schmitz, "The Witches of Karres"
Robert Sheckley, "The Prize of Peril"
Cordwainer Smith, "The Game of Rat and Dragon"
Jack Vance, "Sail 25″


The New Wave and Beyond (1960-1975)
Brian W. Aldiss, "Man in His Time"
The New Wave (Darren Harris-Fain)
Ben Bova, "The Next Logical Step"
Marion Zimmer Bradley, "The Door Through Space"
Donald A. Wollheim (Betsy Wollheim)
John Brunner, "Good with Rice"
F. M. Busby, "If This Is Winnetka, You Must Be Judy"
Octavia Butler, "Bloodchild"
Black Women Writing Speculative Fiction (Ayana Abdallah)
Jack Dann, "Going Under"
Samuel R. Delany, "Driftglass"
Literary Criticism and Science Fiction (Donald M. Hassler)

The New Wave and Beyond (1960-1975) (continued)
Tom Disch, "The Demi-Urge"
Harlan Ellison "Jeffty Is Five"
Science Fiction on Television (Jim Davis)
Joe Haldeman, "Hero" and "Saul's Death" (poem)
Military Science Fiction (James D. Macdonald)
R. A. Lafferty, "Thus We Frustrate Charlemagne"
Time Travel (Ellen M. Rigsby)
Keith Laumer, "The Yillian Way"
Ursula K. Le Guin, "The First Contact with the Gorgonids"
Science Fiction and Environmentalism (Lisa Swanstrom)
Anne McCaffrey, "Weyr Search"
Fan Fiction (Karen Hellekson)
Vonda McIntyre, "Little Faces"
Larry Niven, "Neutron Star"
Kit Reed, "What Wolves Know"
Keith Roberts, "The Lady Margaret"
Spider Robinson, "Melancholy Elephants"
Joanna Russ, "Souls"
Taboos and Dangerous Ideas in Modern SF (Liberty Stanavage)
Robert Silverberg, "Passengers"
Norman Spinrad, "No Direction Home"
James Tiptree Jr., "The Only Neat Thing to Do"
John Varley "The Persistence of Vision"
News Magazines of the Science Fiction Field (Ian Randal Strock)
Vernor Vinge, "Fast Times at Fairmont High"
Kurt Vonnegut, "2 B R 0 2 B"
Roger Zelazny, "A Rose for Ecclesiastes"

The Paperback Heydey (1975-1990)
Greg Bear, "Blood Music"
Germs in Science Fiction (Laurel Bollinger)
Gregory Benford "Bow Shock"
Hard Science Fiction (C. W. Johnson)
David Brin, "Senses Three and Six"
Lois McMaster Bujold, "The Mountains of Mourning"
Disability in Science Fiction (Breyan Strickler)
Pat Cadigan, "Pretty Boy Crossover"
Cyberpunk (Don Riggs)
Orson Scott Card, "Dogwalker"
C. J. Cherryh "The Sandman, the Tinman and the BettyB"
Paul Di Filippo, "Little Worker"
David Drake, "Ranks of Bronze"
Jim Baen (Henry T. Davis with Toni Weiskopf)
Alan Dean Foster, "The Muffin Migration"
Gregory Frost, "Madonna of the Maquiladora"
Lisa Goldstein "Split Light"
James Patrick Kelly, "Think Like a Dinosaur"
John Kessel, "Buffalo"
James Gunn and the Center for the Study of SF (Chris McKitterick)
Elizabeth Moon, "Hand to Hand"
James Morrow, "City of Truth"
Utopian Science Fiction (Samuel Gerald Collins)
Pat Murphy, "Rachel in Love"
LGBT Themes in SF (Wendy Gay Pearson)
Terry Pratchett, "Death and What Comes Next"
Craig Raine, "A Martian Sends A Postcard Home" (poem)
Mike Resnick, "For I Have Touched the Sky"
Kim Stanley Robinson, "The Lucky Strike"
Lucius Shepard, "Barnacle Bill the Spacer" and "White Trains" (poem)
Graphic Novels and Science Fiction (Peter J. Ingrao)
Joan Slonczewski, "Microbe"
S. P. Somtow, "Fiddling for Water Buffaloes"
Bruce Sterling, "Bicycle Repairman"
Michael Swanwick, "Edge of the World"
Harry Turtledove, "The Star and the Rockets"
Howard Waldrop, "The Ugly Chickens"
Connie Willis, "A Letter from the Clearys"
Awards in Science Fiction (Lauren Cunningham)
Gene Wolfe, "Seven American Nights" and "The Computer Iterates
the Greater Trumps" (poem)

SF in the Age of Consolidation (1990- )
Ayana Abdallah, "Shadow Catcher" (poem)
Catherine Asaro, "A Roll of the Dice"
Kage Baker, "Noble Mold"
Steampunk (Burgsbee L. Hobbs)
Terry Bisson, "Bears Discover Fire" and "They're Made out of Meat"
Ted Chiang "Hell is the Absence of God"
Cory Doctorow, "When Sysadmins Ruled the Earth"
Survivalism (Kyle William Bishop)
Debra Doyle and James D. Macdonald, "Uncle Joshua and the Groogleman"
Karen Joy Fowler, "Standing Room Only"
James Alan Gardner, "Three Hearings on the Existence of Snakes in
the Human Bloodstream"
Andrea Hairston, "Griots of the Galaxy"
Cathy Park Hong, from Dance Dance Revolution (poems)
Science Fiction and Lyric Poetry (Seo-Young Jennie Chu)
Nalo Hopkinson, "A Habit of Waste"
Postcolonial Science Fiction (Ericka Hoagland)
Mary Robinette Kowal, "Evil Robot Monkey"
Nancy Kress, "My Mother, Dancing"
Jonathan Lethem, "The Hardened Criminals"
Maureen McHugh, "The Lincoln Train"
Science Fiction and Anime (Mark Gellis)
Robert J. Sawyer, "Flashes"
Canadian Science Fiction in English (Ruby Ramraj)
Darrell Schweitzer, "Alternate Histories," "Scientific Romance," and
"At the Conclusion of the Intersteller War" (poems)
Charles Stross, "Lobsters"

Appendices
Stories and authors listed alphabetically
Stories listed by date of first appearance
List of poems
List of essays
Science Fiction Writer's Guides
60 Rules for Writing Short SF (Terry Bisson)
Writer's Workshops (Debra Doyle)
Inventing the Future (Mike Brotherton)
Submitting a Manuscript (Leigh Grossman)
Literary Agents (Leigh Grossman)
Avoiding Publishing Scams (Leigh Grossman)

Book Details
Visit http://wonder.swordsmith.com (http://wonder.swordsmith.com) for quotes, reviews, material for teachers, or to request an examination copy992 pages, 8 1/2 x 11 paperbackPublished by The Wildside Press, Rockville MarylandEdited by Leigh Grossman, English Department, University of ConnecticutISBN-13: 978-1-4344-3079-3ISBN-10: 1-4344-3079-0

huh!

Kako su zamišljali život na Mesecu 1836. (http://www.sil.si.edu/ImageGalaxy/imageGalaxy_MoreImages.cfm?book_id=SIL-007-281)

via Galaxy of Images  via Smithsonian

Asimov, de Camp and Heinlein at the Naval Aviation Experimental Station  (http://www.kirkusreviews.com/features/asimov-de-camp-and-heinlein-naval-aviation-experim/)

(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fd1fd687oe6a92y.cloudfront.net%2Fblog%2Flead_art%2FHeinlein-decamp-and-asimov_jpg_210x1000_q85.jpg&hash=06106fc398b1b62758096ef8c9a1ab57bc98192e)

 

(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fjameswharris.files.wordpress.com%2F2013%2F04%2Fpopular-sf-authors-1970s_thumb.jpg%3Fw%3D675%26amp%3Bh%3D1103&hash=07af5622af7de98659ef9f263b3a3b40c8e20b48)


The Defining Science Fiction Books of the 1970s (http://jameswharris.wordpress.com/2013/04/09/the-defining-science-fiction-books-of-the-1970s/)     
Posted on April 9, 2013 by jameswharris   

What started as a review of American Science Fiction: The Nine Classic Novels of the 1950s (http://jameswharris.wordpress.com/2013/04/04/the-defining-science-fiction-books-of-1950s/), has put me on a quest to organize my memories of the great science fiction books, decade by decade, and year by year.  Back in the mid-90s I created The Classics of Science Fiction (http://classics.jameswallaceharris.com/) website.  Then I wrote The Greatest Science Fiction Novels of the 20th Century (http://jameswharris.wordpress.com/2008/03/25/the-greatest-science-fiction-novels-of-the-20th-century/) about the science fiction books that people who don't read science fiction might know.  I'm preoccupied with how people remember science fiction, well at least the literary form.  Recently I wrote The Defining Science Fiction Books of the 1960s (http://jameswharris.wordpress.com/2013/04/07/the-defining-science-fiction-books-of-the-1960s/) which is getting more hits than usual for my blog, so that makes me think other people are like me – looking back, trying to remember all their favorite science fiction books from childhood.

Dr. Jekyll and Mr. Hyde 1912


Dr. Jekll and Mr. Hyde - Lucius Henderson - 1912 (http://www.youtube.com/watch?v=RZ-1fMu_-YQ#)

Dr. Jekyll and Mr. Hyde 1920

Dr. Jekyll And Mr. Hyde (1920) - Full Movie (http://www.youtube.com/watch?v=ho8-vK0L1_8#)

Isaac Asimov, Harlan Ellison i Gene Wolfe raspravljaju o naučnoj fantastici u tv emisiji Nightcap, 1982. (http://www.youtube.com/watch?v=RZvcKB9vQO0)

(https://fbcdn-sphotos-a-a.akamaihd.net/hphotos-ak-ash4/s480x480/270648_591268904230936_71030006_n.png)

Mark Twain visiting Nikola Tesla's lab, 1894

The Futurians and the 1939 World Science Fiction Convention


(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fd1fd687oe6a92y.cloudfront.net%2Fblog%2Flead_art%2Fwonder_stories_january_1934_22_jpg_210x1000_q85.jpg&hash=9be3936732819d741fa44ce35372de4fc0d86abb)


The Futurians were pissed. It was July 2^nd 1939, and the first ever World Science Fiction Convention, Nycon I, was about to begin. The convention was held in conjunction with the New York World's Fair, with an appropriate theme: "The World of Tomorrow."  Long anticipated by the region's fans, six members of the fan group—Donald Wollheim, Frederik Pohl, John Michel, Robert A. W. Lowndes and Jack Gillespie—weren't allowed through the doors by James Taurasi, one of the convention's organizers. The confrontation was the culmination of a series of rivalries and personality conflicts that defined the early days of Science Fiction fandom.

The Futurians were a notable science fiction fan group that came together in 1938. In his book about the group, Damon Knight described them as "a group of hungry young science fiction fans and would-be writers which evolved into a sort of subculture: the Futurians had their own communal dwellings, their folklore, songs and games, even their own mock religion." Science Fiction fandom, like the existence of a dedicated genre magazine, found its roots in the efforts of magazine publisher Hugo Gernsback, who recognized the importance of having a reliable subscription base.  To aid his publishing efforts, he put together the Science Fiction League, whose members corresponded with one another about all things SF and met in local chartered clubs.

Gernsback's ecosystem of fans and publications wasn't universally successful, partially due to his publishing practices. Aspiring author Donald Wollheim submitted a story to one of Gernsback's publications, Wonder Stories, which was accepted and published. However, in true Gernsbackian fashion, Wollheim was shorted his payment, and was only paid when he hired a lawyer. He found that there were other authors with similar frustrations, and attended a local meeting of the Science Fiction League, where he met three other fans: Robert Lowndes, John Michel and Frederik Pohl to complain about the treatment faced with Wonder Stories.

Gernsback's franchise of chartered clubs weren't the only organized fan groups in existence: Others were springing up, utilizing the formal Robert's Rules of Order as a guide. There was the Brooklyn Science Fiction League, the East New York Science Fiction League, the International Scientific Association and others in the New York region, and each group had a small circle of fans that came together locally, printed their own fanzines and generally obsessed over the latest magazines and stories that they had read.

Continue reading > (http://www.kirkusreviews.com/features/futurians-and-1939-world-science-fiction-conventio/#continue_reading_post)

Ray Bradbury i Marlene Dietrich, 1935. (http://dangerousminds.net/comments/just_a_really_cool_photo_of_ray_bradbury_and_marlene_dietrich_1935)

via Dangerous Minds

Kurt Vonnegut čita odlomak iz svoje knjige, Doručak šampiona, 1970. (http://www.openculture.com/2013/05/hear_kurt_vonneguts_very_first_public_reading_from_ibreakfast_of_championsi_1970.html)

via Open Culture

Srećan rođendan, gospodo! (http://file770.com/?p=13007)

via File 770

Evolucija pisaće mašine (http://io9.com/the-curious-evolution-of-the-typewriter-in-pictures-509985235)

via io9

Forrest J. Ackerman, 1986.



Tour of Forrest J Ackerman's Ackermansion 1986 (http://www.youtube.com/watch?v=kesPyGX9o5c#)

Čitaj Farmera! http://www.crowsnbones.com/2012/12/image-of-the-beast-an-exorcism-ritual-one-blown-an-exorcism-ritual-two-by-philip-jose-farmer-a-supercoven-book-review/ (http://www.crowsnbones.com/2012/12/image-of-the-beast-an-exorcism-ritual-one-blown-an-exorcism-ritual-two-by-philip-jose-farmer-a-supercoven-book-review/)

Iain Banks, 1989.


Off The Page - Iain Banks (http://www.youtube.com/watch?v=i-g6nkqflgU#)

Simons se na fbu nesto malko raznezio nad Elisonom

Quote(Wed. afternoon, June 12, and I just received an
energetic and upbeat phone call from my dear friend and one-time mentor Harlan
Ellison -- who, even at age 79, sounds GREAT! -- and who asked me to say hello
to his many friends and few anemones via Facebook. I've been biased since I met
Harlan in 1981, but I still contend -- with total seriousness -- that if he'd
been born south of the border where "sci-fi" wasn't in reviewers' lazy
vocabulary, his unique and outstanding fiction would have earned him a Nobel
Prize for Literature by now. At any rate, it was fun hearing from him. I look
forward to seeing him soon.)

i okacio ovaj link  :) :

Star Trek cast on Tom Snyder's Tomorrow, 1976, Part 4 (http://www.youtube.com/watch?v=3yaY98GTCYM#)

Dead Rats Don't Fly, 1986.

(na bubnjevima: John Scalzi)


Webb Air Bands - Act 1 - 1986 (http://www.youtube.com/watch?v=EUwkxCfHoaQ#ws)

1st World Fantasy Convention - 1975 (http://www.flickr.com/photos/hunding/sets/922262/)

(fotosi)

James Joyce čita iz Ulysses-a, 1924. (http://www.openculture.com/2013/06/on_bloomsday_hear_james_joyce_read_from_his_epic_iulyssesi_1924.html)

via Open Culture

evo kako je davne 1964 čika Asimov zamišljao naše vreme:




Visit to the World's Fair of 2014By ISAAC ASIMOV

The New York World's Fair of 1964 is dedicated to "Peace Through Understanding." Its glimpses of the world of tomorrow rule out thermonuclear warfare. And why not? If a thermonuclear war takes place, the future will not be worth discussing. So let the missiles slumber eternally on their pads and let us observe what may come in the nonatomized world of the future.What is to come, through the fair's eyes at least, is wonderful. The direction in which man is traveling is viewed with buoyant hope, nowhere more so than at the General Electric pavilion. There the audience whirls through four scenes, each populated by cheerful, lifelike dummies that move and talk with a facility that, inside of a minute and a half, convinces you they are alive.

The scenes, set in or about 1900, 1920, 1940 and 1960, show the advances of electrical appliances and the changes they are bringing to living. I enjoyed it hugely and only regretted that they had not carried the scenes into the future. What will life be like, say, in 2014 A.D., 50 years from now? What will the World's Fair of 2014 be like?

I don't know, but I can guess.


One thought that occurs to me is that men will continue to withdraw from nature in order to create an environment that will suit them better. By 2014, electroluminescent panels will be in common use. Ceilings and walls will glow softly, and in a variety of colors that will change at the touch of a push button.
Windows need be no more than an archaic touch, and even when present will be polarized to block out the harsh sunlight. The degree of opacity of the glass may even be made to alter automatically in accordance with the intensity of the light falling upon it.


There is an underground house at the fair which is a sign of the future. if its windows are not polarized, they can nevertheless alter the "scenery" by changes in lighting. Suburban houses underground, with easily controlled temperature, free from the vicissitudes of weather, with air cleaned and light controlled, should be fairly common. At the New York World's Fair of 2014, General Motors' "Futurama" may well display vistas of underground cities complete with light- forced vegetable gardens. The surface, G.M. will argue, will be given over to large-scale agriculture, grazing and parklands, with less space wasted on actual human occupancy.


Gadgetry will continue to relieve mankind of tedious jobs. Kitchen units will be devised that will prepare "automeals," heating water and converting it to coffee; toasting bread; frying, poaching or scrambling eggs, grilling bacon, and so on. Breakfasts will be "ordered" the night before to be ready by a specified hour the next morning. Complete lunches and dinners, with the food semiprepared, will be stored in the freezer until ready for processing. I suspect, though, that even in 2014 it will still be advisable to have a small corner in the kitchen unit where the more individual meals can be prepared by hand, especially when company is coming.


Robots will neither be common nor very good in 2014, but they will be in existence. The I.B.M. exhibit at the present fair has no robots but it is dedicated to computers, which are shown in all their amazing complexity, notably in the task of translating Russian into English. If machines are that smart today, what may not be in the works 50 years hence? It will be such computers, much miniaturized, that will serve as the "brains" of robots. In fact, the I.B.M. building at the 2014 World's Fair may have, as one of its prime exhibits, a robot housemaid*large, clumsy, slow- moving but capable of general picking-up, arranging, cleaning and manipulation of various appliances. It will undoubtedly amuse the fairgoers to scatter debris over the floor in order to see the robot lumberingly remove it and classify it into "throw away" and "set aside." (Robots for gardening work will also have made their appearance.)
General Electric at the 2014 World's Fair will be showing 3-D movies of its "Robot of the Future," neat and streamlined, its cleaning appliances built in and performing all tasks briskly. (There will be a three-hour wait in line to see the film, for some things never change.)


The appliances of 2014 will have no electric cords, of course, for they will be powered by long- lived batteries running on radioisotopes. The isotopes will not be expensive for they will be by- products of the fission-power plants which, by 2014, will be supplying well over half the power needs of humanity. But once the isotype batteries are used up they will be disposed of only through authorized agents of the manufacturer.


And experimental fusion-power plant or two will already exist in 2014. (Even today, a small but genuine fusion explosion is demonstrated at frequent intervals in the G.E. exhibit at the 1964 fair.) Large solar-power stations will also be in operation in a number of desert and semi-desert areas -- Arizona, the Negev, Kazakhstan. In the more crowded, but cloudy and smoggy areas, solar power will be less practical. An exhibit at the 2014 fair will show models of power stations in space, collecting sunlight by means of huge parabolic focusing devices and radiating the energy thus collected down to earth.


The world of 50 years hence will have shrunk further. At the 1964 fair, the G.M. exhibit depicts, among other things, "road-building factories" in the tropics and, closer to home, crowded highways along which long buses move on special central lanes. There is every likelihood that highways at least in the more advanced sections of the world*will have passed their peak in 2014; there will be increasing emphasis on transportation that makes the least possible contact with the surface. There will be aircraft, of course, but even ground travel will increasingly take to the air*a foot or two off the ground. Visitors to the 1964 fair can travel there in an "aquafoil," which lifts itself on four stilts and skims over the water with a minimum of friction.

This is surely a stop-gap. By 2014 the four stilts will have been replaced by four jets of compressed air so that the vehicle will make no contact with either liquid or solid surfaces.


Jets of compressed air will also lift land vehicles off the highways, which, among other things, will minimize paving problems. Smooth earth or level lawns will do as well as pavements. Bridges will also be of less importance, since cars will be capable of crossing water on their jets, though local ordinances will discourage the practice.


Much effort will be put into the designing of vehicles with "Robot-brains"*vehicles that can be set for particular destinations and that will then proceed there without interference by the slow reflexes of a human driver. I suspect one of the major attractions of the 2014 fair will be rides on small roboticized cars which will maneuver in crowds at the two-foot level, neatly and automatically avoiding each other.


For short-range travel, moving sidewalks (with benches on either side, standing room in the center) will be making their appearance in downtown sections. They will be raised above the traffic. Traffic will continue (on several levels in some places) only because all parking will be off-street and because at least 80 per cent of truck deliveries will be to certain fixed centers at the city's rim. Compressed air tubes will carry goods and materials over local stretches, and the switching devices that will place specific shipments in specific destinations will be one of the city's marvels.


Communications will become sight-sound and you will see as well as hear the person you telephone. The screen can be used not only to see the people you call but also for studying documents and photographs and reading passages from books. Synchronous satellites, hovering in space will make it possible for you to direct-dial any spot on earth, including the weather stations in Antarctica (shown in chill splendor as part of the '64 General Motors exhibit).


For that matter, you will be able to reach someone at the moon colonies, concerning which General Motors puts on a display of impressive vehicles (in model form) with large soft tires*intended to negotiate the uneven terrain that may exist on our natural satellite.


Any number of simultaneous conversations between earth and moon can be handled by modulated laser beams, which are easy to manipulate in space. On earth, however, laser beams will have to be led through plastic pipes, to avoid material and atmospheric interference. Engineers will still be playing with that problem in 2014.
Conversations with the moon will be a trifle uncomfortable, but the way, in that 2.5 seconds must elapse between statement and answer (it takes light that long to make the round trip). Similar conversations with Mars will experience a 3.5-minute delay even when Mars is at its closest. However, by 2014, only unmanned ships will have landed on Mars, though a manned expedition will be in the works and in the 2014 Futurama will show a model of an elaborate Martian colony.


As for television, wall screens will have replaced the ordinary set; but transparent cubes will be making their appearance in which three-dimensional viewing will be possible. In fact, one popular exhibit at the 2014 World's Fair will be such a 3-D TV, built life-size, in which ballet performances will be seen. The cube will slowly revolve for viewing from all angles.


One can go on indefinitely in this happy extrapolation, but all is not rosy.


As I stood in line waiting to get into the General Electric exhibit at the 1964 fair, I found myself staring at Equitable Life's grim sign blinking out the population of the United States, with the number (over 191,000,000) increasing by 1 every 11 seconds. During the interval which I spent inside the G.E. pavilion, the American population had increased by nearly 300 and the world's population by 6,000.


In 2014, there is every likelihood that the world population will be 6,500,000,000 and the population of the United States will be 350,000,000. Boston-to-Washington, the most crowded area of its size on the earth, will have become a single city with a population of over 40,000,000.


Population pressure will force increasing penetration of desert and polar areas. Most surprising and, in some ways, heartening, 2014 will see a good beginning made in the colonization of the continental shelves.
Underwater housing will have its attractions to those who like water sports, and will undoubtedly encourage the more efficient exploitation of ocean resources, both food and mineral. General Motors shows, in its 1964 exhibit, the model of an underwater hotel of what might be called mouth-watering luxury. The 2014 World's Fair will have exhibits showing cities in the deep sea with bathyscaphe liners carrying men and supplies across and into the abyss.


Ordinary agriculture will keep up with great difficulty and there will be "farms" turning to the more efficient micro-organisms. Processed yeast and algae products will be available in a variety of flavors. The 2014 fair will feature an Algae Bar at which "mock-turkey" and "pseudosteak" will be served. It won't be bad at all (if you can dig up those premium prices), but there will be considerable psychological resistance to such an innovation.


Although technology will still keep up with population through 2014, it will be only through a supreme effort and with but partial success. Not all the world's population will enjoy the gadgety world of the future to the full. A larger portion than today will be deprived and although they may be better off, materially, than today, they will be further behind when compared with the advanced portions of the world. They will have moved backward, relatively.


Nor can technology continue to match population growth if that remains unchecked. Consider Manhattan of 1964, which has a population density of 80,000 per square mile at night and of over 100,000 per square mile during the working day. If the whole earth, including the Sahara, the Himalayan Mountain peaks, Greenland, Antarctica and every square mile of the ocean bottom, to the deepest abyss, were as packed as Manhattan at noon, surely you would agree that no way to support such a population (let alone make it comfortable) was conceivable. In fact, support would fail long before the World-Manhattan was reached.


Well, the earth's population is now about 3,000,000,000 and is doubling every 40 years. If this rate of doubling goes unchecked, then a World-Manhattan is coming in just 500 years. All earth will be a single choked Manhattan by A.D. 2450 and society will collapselong before that!


There are only two general ways of preventing this: (1) raise the death rate; (2) lower the birth rate. Undoubtedly, the world of A>D. 2014 will have agreed on the latter method. Indeed, the increasing use of mechanical devices to replace failing hearts and kidneys, and repair stiffening arteries and breaking nerves will have cut the death rate still further and have lifted the life expectancy in some parts of the world to age 85.


There will, therefore, be a worldwide propaganda drive in favor of birth control by rational and humane methods and, by 2014, it will undoubtedly have taken serious effect. The rate of increase of population will have slackened*but, I suspect, not sufficiently.


One of the more serious exhibits at the 2014 World's Fair, accordingly, will be a series of lectures, movies and documentary material at the World Population Control Center (adults only; special showings for teen-agers).


The situation will have been made the more serious by the advances of automation. The world of A.D. 2014 will have few routine jobs that cannot be done better by some machine than by any human being. Mankind will therefore have become largely a race of machine tenders. Schools will have to be oriented in this direction. Part of the General Electric exhibit today consists of a school of the future in which such present realities as closed-circuit TV and programmed tapes aid the teaching process. It is not only the techniques of teaching that will advance, however, but also the subject matter that will change. All the high-school students will be taught the fundamentals of computer technology will become proficient in binary arithmetic and will be trained to perfection in the use of the computer languages that will have developed out of those like the contemporary "Fortran" (from "formula translation").


Even so, mankind will suffer badly from the disease of boredom, a disease spreading more widely each year and growing in intensity. This will have serious mental, emotional and sociological consequences, and I dare say that psychiatry will be far and away the most important medical specialty in 2014. The lucky few who can be involved in creative work of any sort will be the true elite of mankind, for they alone will do more than serve a machine.


Indeed, the most somber speculation I can make about A.D. 2014 is that in a society of enforced leisure, the most glorious single word in the vocabulary will have become work!



http://www.nytimes.com/books/97/03/23/lifetimes/asi-v-fair.html (http://www.nytimes.com/books/97/03/23/lifetimes/asi-v-fair.html)

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Speculative fiction scholar and Fantastic Books editor Darrell Schweitzer has spearheaded our efforts to bring The Heads of Cerberus (http://fantasticbooks.biz/fantasticbooks/sf/1617209392.html) back into print. First published in the rare pulp magazine The Thrill Book in 1919, Francis Stevens' masterpiece blends time-travel fantasy, alternate realities, and social satire as it propels early 20th century characters into the Philadelphia of the year 2118. The city is an isolated dystopia run by a corrupt oligarchy, the Liberty Bell has been transformed into a disintegration machine, and William Penn is worshiped as a god. This exciting melodrama is filled with striking images and vivid characters, and for readers actually familiar with the Quaker City, there is the added pleasure of seeing an eerily recognizable rendition of the past projected into a strange future.

Francis Stevens was a pseudonym of Gertrude Barrows Bennett (1883-1948), the first woman to be a major contributor of fantastic fiction to the pulp magazines. She published one story under her own name in The Argosy in 1904. In the middle of the next decade, she turned to writing full-time to support her family, and her fiction writing career began as Stevens with "The Nightmare," which was published in All-Story Weekly in April 1917. Her fiction appeared in the major pulp magazines of the day, and she also wrote several novels.

Following her invalid mother's death around 1920, she stopped writing. Her last novella, "Sunfire," was serialized in Weird Tales in 1923. Her fans assumed she had "mysteriously disappeared," but her disappearance was easily explained: she was a writer who produced fiction only out of economic necessity, and when that necessity was removed, she stopped. She was a popular writer, but producing work at a time when fiction had no longevity: the pulp magazines in which it was published didn't survive long.

Other than its first publication, The Heads of Cerberus saw one very limited book edition published in 1952, but aside from those curtailed appearances, the book has been more legend than memory. Fantastic Books is thrilled to finally bring the book into publication for the wide audience it deserves.

Editor Darrell Schweitzer's introduction puts the book in context for the modern reader.

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Heinlein was purely motivated by his sense of patriotism, which at points led to the irritation of his fellow authors. The wartime years proved to be influential to Heinlein years later: In 1944, he was moved by the release of a song, "The Ballad of Rodger Young," about Army Private Rodger Young, who was killed in action on the Solomon Islands in July 1943. Another pivotal moment for Heinlein was President Truman's announcement on August 6, 1945, of the first of two new weapon deployments over Japan: Little Boy, an atomic bomb that had just devastated Hiroshima. A second, Fat Man, a plutonium bomb, was dropped three days later. Upon the news, Heinlein noted: "That's the end," and resigned from his position at the NAES. Before he did so, however, he submitted a five page paper to his supervisor at the station, outlining potential future projects that the installation could likely follow up on, advocating that they reorient their focus towards the new style of warfare that had just opened up.

With the conclusion of WWII, Heinlein turned back to writing science fiction. He had been able to make a name for himself in John W. Campbell Jr.'s Astounding Magazine in 1939 (https://www.kirkusreviews.com/features/john-campbell-jr-astounding-magazine-and-start-gol/), and throughout the war had kept in touch with the editor. Following the 1940s, however, he began to look to other publishing markets. Working with Charles Scribner's & Sons, he started a line of juvenile novels in 1947, beginning with Rocketship Galileo. Almost yearly, he published a book in a series marketed toward young boys. Heinlein often challenged his editors for what was appropriate for the demographic, bolstered by an ever-increasing popularity for the novels.

In April, 1958, Heinlein was presented with a newspaper from his wife, featuring a full-page ad urging for an end to nuclear weapons testing. Heinlein was angry: He felt that the nuclear arsenal that the United States had built up was the only thing keeping the Soviet Union and Communism in check. He promptly wrote up a full-page ad of his own, and paid for placement in the local papers. He sent a copy to President Dwight Eisenhower, and was dismayed when the president's administration began to explore the first steps toward a limited nuclear test ban treaty shortly thereafter. His worry wasn't an idle one. By this time, he lived mere miles from the North American Aerospace Defense Command headquarters in Colorado, a likely strategic target in the event that the U.S .and USSR ever went to war.

In response, Heinlein set aside the book he was working on, Stranger in a Strange Land, to write a new, politically motivated story.  In an April letter to his agent, Lurton Blassingame, he was pessimistic about the future of the United States: "I am convinced in my own mind that the United States is washed up and we will cease to exist inside of five to fifteen years - unless we quickly and drastically pull up our socks, both at home and in foreign policy. This opinion has been growing in my mind for years: I was simply triggered into doing something about it by this pacifistic-internationalist-cum-clandestine Communist drive to have us treat atomics and disarmament in exactly the fashion the Kremlin has tried to get us to do for the past twelve years."

On November 22, 1958, Heinlein wrote to Blassingame, telling him that he completed the new novel, tentatively titled Sky Soldier. It was a short work, coming in at 60,000 words, and after he spent a month revising it, he mailed it off, with the caveat that it wasn't one of his juvenile novels: "it is an adult novel about an eighteen year old boy...I have followed my own theory that intelligent youngsters are in fact more interested in weighty matters than their parents usually are."

Following the exploits of a young space marine, Johnny Rico, Heinlein weaves a story that follows the soldier as he volunteers for military service as humanity finds itself at war against an implacable alien foe. Heinlein used the novel as a sounding board for a Platonic philosophic style that rigorously encouraged service to the state— in this case, through Federal (read: Military) service—while at the same time throwing his own fear of Communism and the need for a strong military force to confront its expansion. Influenced by his work in the Military Industrial Complex during WWII, Heinlein understood the increased mechanization of warfare, and extrapolated accordingly. Heinlein never quite uses the novel for his soldiers to question the necessity of the war that they fight, but as a hawkish examination on the responsibilities of a citizen towards one's country.

Lurton turned the book over to Scribner's for consideration for in the Juveniles line, only to have it promptly rejected, effectively ending Heinlein's ties with the company. He was irritated at the publisher and its editors and feeling wronged by the rejection, reasoning that his stories had been incredibly popular for the publisher and that this story would do just as well. Heinlein's editor at Scribner's, Alice Dalgliesh, noted that the story would likely work as a serial, and shortly thereafter, Heinlein sold the serial rights to The Magazine of Fantasy and Science Fiction and the hardcover rights to Ace by March of 1958.

The story, now titled Starship Soldier, was serialized in The Magazine of Fantasy and Science Fiction from October 1959 to November 1959. The novel was repackaged by Ace as Starship Troopers and published in December 1959. It was met with both great success and with great controversy. Numerous reviewers (including the founding editor of MOFSF, Anthony Boucher) felt that it was an attempt from Heinlein to rationalize and condone a fascist state, while others felt that he was glorifying the brutal nature of war, all the while promoting his particular brand of right-wing, libertarian politics. While certainly true to a point on all accounts, historian Brian Aldiss notes that Heinlein should never be considered an author steeped in realism; in particular, his experience with the juvenile novels likely played a part in the amount of violence and action that he portrays in the novel.

Ultimately, it was Heinlein's patriotic love letter to a country that he loved intensely, and it remains deeply divisive to this day. Despite the condemnation of the book from circles within the fan community, Heinlein was surprised when the novel was awarded the 1960 Hugo Award for Best Novel. Interestingly, it was not the only military science-fiction work on the ballot: Dorsai! by Gordon R. Dickson was also nominated, which has also proven to be an influential work within military science fiction.

Starship Troopers would prove to be the spark to an entire subgenre of militant science fiction stories. A number of other works were directly influenced by Starship Troopers: Joe Haldeman's famous 1974 novel The Forever War carries a number of similarities, but drew more from Haldeman's own experiences in Vietnam. John Steakley's 1984 novel Armor draws on his reading of the book. Bill The Galactic Hero was a satirical take from Harry Harrison, while John Scalzi's Old Man's War borrows from Starship Trooper's structure. Beyond the individual books, Heinlein paved the way with the creation of a modern war story within the science-fiction genre, continuing, in effect, the style of "future war" stories that had come decades before, such as The Battle of Dorking by George Tomkyns Chesney, a reactionary story that warned of a foreign menace; and The War of the Worlds by H.G. Wells, which instilled a political warning, all set among a backdrop of violence. Hawkish, conservative and divisive, Troopers remains popular for its political message in some circles, and for its unadulterated military hardware fixation in others. Its influence will undoubtedly remain as long as there's armed conflict between nations.

https://www.kirkusreviews.com/features/robert-heinleins-starship-troopers-cold-war/ (https://www.kirkusreviews.com/features/robert-heinleins-starship-troopers-cold-war/)

deNardo nam se malko raznezio... :)


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Courtesy of Michael May's (awesome) Adventureblog (http://www.michaelmayadventureblog.com/2013/10/31-werewolves-man-wolf.html), I am reminded that how much comics were part of my early reading experiences. Not only did I have the super-size version of the Superman vs. Muhammad Ali boxing match (https://www.sfsignal.com/archives/2006/06/superman_vs_muhammad_ali/), but I also had a read-a-long recording of Amazing Spider-Man #124, which featured J. Jonah Jameson's astronaut son, John, and the creature he became: the Man-Wolf!
Now, through the magic of the Internets, I can re-live this magic moment from my childhood. And you can, too! Go, go, gadget YouTube!





http://youtu.be/f6Wy5GxnDSw (http://youtu.be/f6Wy5GxnDSw)

A kako su svojedobno palpična sf-sabraća Rusi zamišljali život u svemiru?


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http://io9.com/how-soviet-artists-imagined-communist-life-in-space-1558140402 (http://io9.com/how-soviet-artists-imagined-communist-life-in-space-1558140402)

Century-old time capsules opened in New York City, Boston



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A fun coincidence of history: In Boston and New York this week, two unrelated openings of time capsules left by people 113 and 100 years ago, respectively. They are two of the country's oldest time capsules.

In NYC on Wednesday, The New York Historical Society opened a time capsule created in 1914 by Wall Street businessmen celebrating New York as a center of commerce. Spectators gathered around the bronze box as 26 screws holding the lid down were carefully unscrewed by people wearing surgical gloves. Mashable has a nice photo gallery with images from the opening ceremony.

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http://boingboing.net/2014/10/09/century-old-time-capsules-open.html (http://boingboing.net/2014/10/09/century-old-time-capsules-open.html)

  8-) Guilty Pleasure: Reading Competent, Spectacular Science Fiction in Hard-to-Find Pulps


Exceptional quality of adventure and sense-of-wonder 1930s-1940s science fiction from brothers Earl Binder and Otto Binder writing as Eando Binder. They also used pen-names: John Coleridge, Gordon Giles, Will Garth


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The Rare & the Beautiful... obscure issues of pulp magazines, full of fantastic, engrossing fiction... enter the world of collectible pulps: read our previous issues on DRB SF site: Rare Pulps, Issue 1 and Issue 2.


http://www.scifi.darkroastedblend.com/2014/03/pulp-pleasures-eando-binder.html (http://www.scifi.darkroastedblend.com/2014/03/pulp-pleasures-eando-binder.html)