Vremeplov

[Gaff]

Новый Гуливер (1935), sovjetska obrada Sviftovog dela.

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


Новый Гуливер (1935)


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

[Gaff]

Amazing Stories, jul 1949.



   

[Gaff]

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







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.






Amazing Stories, jul 1951.







Dva broja ovog fanzina:
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).

[zakk]

kratica STF... zanimljivo

[Gaff]

Da, Gernsbackov uticaj ( 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:




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...  unapred zahvalan 

[Melkor]

The Pulp Magazines Project has just posted the first several issues of Amazing Stories. 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...

[Melkor]

The Radium Age science fiction library  By Joshua Glenn at 3:30 pm Tuesday, Feb 14 

Several years ago, I read Brian Aldiss's Billion Year Spree -- 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 and my own blog, HiLobrow; 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 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, 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. 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 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, 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 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, and publisher Richard Nash) and we've started HiLoBooks. This year, we're serializing (at HiLobrow) and then publishing in paperback form six classics Radium Age science fiction titles. The first three -- Jack London's The Scarlet Plague, Rudyard Kipling's With the Night Mail, and Arthur Conan Doyle's The Poison Belt -- are coming out this spring; they are available for pre-ordering now. Join the crusade!

[Melkor]

The Art of Penguin Science Fiction: Table of contents

[Gaff]

The Art of Penguin Science Fiction: Table of contents

Hvala, Melkore! 

[Gaff]

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:








I reči urednika u fentezi odeljku:

[Gaff]

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

Code Select Expand

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

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

[Irena Adler]

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

[PTY]

Roger Zelazny reads BLOOD OF AMBER






David Barr Kirtley 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".
Watch closely for Steven Brust at 1m 48s and 2m 14s and others I should recognize, but don't.

[Gaff]

JG Ballard on science fiction, technology and the future

[PTY]

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, 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

[Gaff]

Commodore VIC-20 ad with William Shatner

[PTY]

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/

[Gaff]

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

[Mme Chauchat]

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

Tako se piše preporuka! Hvala.

[Gaff]

 

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/

[PTY]

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/

[Gaff]

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

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

[PTY]

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

[Gaff]

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/

[PTY]

Uh, pogresila sam topik sa prethodnim postom... 

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

[zakk]

ccc besramno flertovanje 

[zakk]

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 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^[3] and 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, Charles Nodier, Guy de Maupassant, Théophile Gautier, Victor Hugo, ^[5] Villiers de l'Isle-Adam ^[6] and Guillaume Apollinaire. ^[7] Other noted writers such as Apuleius, ^[8] Charles Dickens, Pushkin, Edgar Allan Poe, Washington Irving, Amelia Edwards, ^[1] Nathaniel Hawthorne, H. G. Wells, Valery Bryusov and Karel and Josef Capek were all published in Der Ochideengarten. ^[5] German language writers for the magazine included Strobl, H.H. Schmizt, Leo Perutz and Alexander Moritz Frey, ^[8] as well as reprinted stories by E. T. A. Hoffmann. ^[6] Illustrations included reproductions of medieval woodcuts and pictures by Gustave Dore and Tony Johannot, as well as contemporary artists such as Rolf von Hoerschelmann (1885-1947), Otto Linnekogel (1892-1981), Karl Ritter (1888-?), Heinrich Kley, Alfred Kubin, ^[5] Eric Godal (1899-1969), Carl Rabus, (1898-1982) (famous for his work in the magazine Jugend) ^[8] Otto Nückel and Max Schenke (1891-1957). ^[8]


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. Click on images to greatly enlarge.



Some background on Der Orchideengarten from Will:
The World's First Fantasy Magazine – Der Orchideengarten
Illustrations from Der Orchideengarten, the World's First Fantasy Magazine
More images from Der Orchideengarten are up now over at John Coulthart's feuilleton site....and Will has just added another clutch at A Journey Round My Skull! That should keep you busy.
More high-res cover scans after the jump...











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

itd...

[zakk]

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

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

[zakk]

a evo i jedna pričica The Tomb of Père Lachaise by Karl Hans Strobl

[Gaff]

Vielen Dank, mein Freund! Es ist unglaublich! 

[Mme Chauchat]

hmm
dostupno u bečkoj biblioteci

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

[Gaff]

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

[Gaff]

The First Ever Cosplay Photos, From the 1890s

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

[Gaff]

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

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

[Gaff]

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/

(a ima na sajtu još svega interesantnog)

[Gaff]

Mark Twain 1909.

Mark Twain at Stormfield, 1909 (Edison film)


http://archive.org/details/MarkTwainSilentMovie1909

[Karl Rosman]

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

[Biki]

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

[Karl Rosman]

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

[Gaff]

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

[Gaff]

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

[Gaff]

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

[PTY]

DeNardo na Kirkusu: Mars in Science Fiction (Part 1)

[Gaff]

Prva filmska adaptacija Modernog Prometeja.


Frankenstein (1910) - Full Movie


Archive.org

Wiki

[PTY]

Mars! Mars! Mars! 

Today at Kikrus, I continue with my survey of Mars in science fiction. (Part 1 is here.)

[PTY]

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.

[PTY]

DeNardo:  Today at Kikrus, I conclude my survey of Mars in science fiction. (Continued from Part 1 and 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.

[Gaff]

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

(by Huffington Post)

Bradbury'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

[Gaff]

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

Panel 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

[Gaff]

J. R. R. Tolkien: Namárië

J.R.R. Tolkien reads .... _A Poem In Elvish_