1.
Pulp (paper)
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Pulp is a lignocellulosic fibrous material prepared by chemically or mechanically separating cellulose fibres from wood, fiber crops or waste paper. The wood fiber sources required for pulping are 45% sawmill residue, 21% logs and chips, many kinds of paper are made from wood with nothing else mixed into them. This includes newspaper, magazines and even toilet paper, Pulp is one of the most abundant raw materials worldwide. Using wood to make paper is a recent innovation. The ancient Egyptians were the first to make paper from reeds, papermaking using cotton and linen fibers spread to Europe in the 13th century, and the increasing use of fabric brought more rag paper, which was a factor in the development of printing. By the 1800s, fibre crops such as flax, which provided linen fibres, were still the material source. Chemical processes quickly followed, first with J. Roths use of acid to treat wood, then by Benjamin Tilghmans U. S. patent on the use of calcium bisulfite, Ca2. Almost a decade later, the first commercial sulfite pulp mill was built and it used magnesium as the counter ion and was based on work by Carl Daniel Ekman. By 1900, sulfite pulping had become the dominant means of producing wood pulp, the competing chemical pulping process, the sulfate, or kraft, process, was developed by Carl F. Dahl in 1879, the first kraft mill started, in Sweden, in 1890. The invention of the boiler, by G. H. Tomlinson in the early 1930s, allowed kraft mills to recycle almost all of their pulping chemicals, global production of wood pulp in 2006 was 175 million tons. In the previous year,63 million tons of market pulp was sold, with Canada being the largest source at 21 percent of the total, chemical pulp made up 93 percent of market pulp. The timber resources used to make wood pulp are referred to as pulpwood, wood pulp comes from softwood trees such as spruce, pine, fir, larch and hemlock, and hardwoods such as eucalyptus, aspen and birch. A pulp mill is a facility that converts wood chips or other plant fibre source into a thick fiberboard which can be shipped to a paper mill for further processing. Pulp can be manufactured using mechanical, semi-chemical or fully chemical methods, the finished product may be either bleached or non-bleached, depending on the customer requirements. Wood and other plant materials used to make pulp contain three components, cellulose fibers, lignin and hemicelluloses. The aim of pulping is to break down the structure of the fibre source, be it chips, stems or other plant parts. The various mechanical pulping methods, such as groundwood and refiner mechanical pulping, much of the lignin remains adhering to the fibres
2.
Penny dreadful
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Penny dreadful is a pejorative term used to refer to cheap popular serial literature produced during the nineteenth century in the United Kingdom. The term is interchangeable with penny horrible, penny awful. The term typically referred to a story published in weekly parts, the subject matter of these stories was typically sensational, focusing on the exploits of detectives, criminals, or supernatural entities. The penny dreadfuls were printed on wood pulp paper and were aimed at young working class males. Victorian Era Britain experienced social changes that resulted in increased literacy rates, with the rise of capitalism and industrialisation, people began to spend more money on entertainment, contributing to the popularisation of the novel. Other significant changes included industrialisation and a capacity for travel via the invention of tracks, engines. These changes created both a market for popular literature, and the ability for it to be circulated on a large scale. The first penny serials were published in the 1830s to meet this demand, the serials were priced to be affordable to working-class readers, and were considerably cheaper than the serialised novels of authors such as Charles Dickens, which cost a shilling per part. The stories themselves were reprints, or sometimes rewrites, of Gothic thrillers such as The Monk or The Castle of Otranto, some of the most famous of these penny part-stories were The String of Pearls, A Romance, The Mysteries of London, and Varney the Vampire. Highwaymen were popular heroes, Black Bess or the Knight of the Road, outlining the largely imaginary exploits of real-life English highwayman Dick Turpin, Other serials were thinly-disguised plagiarisms of popular contemporary literature. The publisher Edward Lloyd, for instance, published a number of penny serials derived from the works of Dickens entitled Oliver Twiss, Nickelas Nicklebery, and Martin Guzzlewit. Working class boys who could not afford a penny a week often formed clubs that would share the cost, Other enterprising youngsters would collect a number of consecutive parts, then rent the volume out to friends. In 1866, Boys of England was introduced as a new type of publication and it was printed on the same cheap paper, though it sported a larger format than the penny parts. Numerous competitors quickly followed, with titles as Boys Leisure Hour, Boys Standard, Young Men of Great Britain. As the price and quality of other types of works were the same. American dime novels were edited and rewritten for a British audience and these appeared in booklet form, such as the Boys First Rate Pocket Library. Frank Reade, Buffalo Bill, and Deadwood Dick were all popular with the penny dreadful audience, in reality, the serial novels were overdramatic and sensational, but generally harmless. If anything, the penny dreadfuls, although not the most enlightening or inspiring of literary selections
3.
Dime novel
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The dime novel is a form of late 19th-century and early 20th-century U. S. popular fiction issued in series of inexpensive paperbound editions. The term was used as a title as late as 1940, Dime novels are the antecedent of todays mass-market paperbacks, comic books, television shows and movies based on dime-novel genres. In the modern age, the dime novel has been used to refer to quickly written, lurid potboilers, usually as a pejorative to describe a sensationalized. In 1860, the publishers Erastus and Irwin Beadle released a new series of cheap paperbacks, Dime novel became a general term for similar paperbacks produced by various publishers in the early twentieth century. The first book in the Beadle series was Malaeska, the Indian Wife of the White Hunter, by Ann S. Stephens, the novel was essentially a reprint of Stephenss earlier serial, which had appeared in the Ladies Companion magazine in February, March and April 1839. It sold more than 65,000 copies in the first few months after its publication as a dime novel, Dime novels varied in size, even in the first Beadle series, but were mostly about 6.5 by 4.25 inches, with 100 pages. The first 28 were published without an illustration, in a salmon-colored paper wrapper. A woodblock print was added in issue 29, and the first 28 were reprinted with illustrated covers, the books were priced, of course, at ten cents. Most of the stories were frontier tales reprinted from the serials in the story papers and other sources. As the popularity of dime novels increased, original stories came to be the norm, the books were reprinted many times, sometimes with different covers, and the stories were often further reprinted in different series and by different publishers. The literacy rate increased around the time of the American Civil War, by the end of the war, numerous competitors, such as George Munro and Robert DeWitt, were crowding the field, distinguishing their product only by title and the color of the paper wrappers. Beadle & Adams had their own brands, such as the Frank Starr line. As a whole, the quality of the fiction was derided by critics. Adding to the confusion as to what is or is not a dime novel, many of the series, though similar in design and subject. Beadle & Adams complicated the matter by issuing some titles in the same salmon-colored covers at different prices, also, there were a number of ten-cent, paper-covered books of the period that featured medieval romance stories and melodramatic tales. This makes it hard to define what falls in the category of the novel, with classification depending on format, price. Examples of dime novel series that illustrate the diversity of the form include Bunces Ten Cent Novels, Bradys Mercury Stories, Beadles Dime Novels, in 1874, Beadle & Adams added the novelty of color to the covers when their New Dime Novels series replaced the flagship title. The stories were reprints from the first series
4.
Superhero
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A female superhero is sometimes called a superheroine. Fiction centered on characters, especially in American comic books since the 1930s, is known as superhero fiction. By most definitions, characters do not require actual supernatural or superhuman powers or phenomena to be deemed superheroes, some superheroes use their powers to counter daily crime while also combating threats against humanity from supervillains, who are their criminal counterparts. Often at least one of these supervillains will be the superheros archenemy, some long-running superheroes such as Iron Man, Captain America, Superman, Wonder Woman, Batman, and Spider-Man have a rogues gallery of many villains. The word superhero dates to at least 1917, antecedents of the archetype include such folkloric heroes as Robin Hood, who adventured in distinctive clothing. The 1903 play The Scarlet Pimpernel and its spinoffs popularized the idea of a masked avenger, during the 1940s there were many superheroes, and only a few of these were female. The Flash, Green Lantern and Blue Beetle debuted in this era, most of the other female costumed crime-fighters during this era lacked superpowers. The most iconic comic book superheroine, who debuted during the Golden Age, is Wonder Woman, inspired by the Amazons of Greek mythology, she was created by psychologist William Moulton Marston, with help and inspiration from his wife Elizabeth and their mutual lover Olive Byrne. Wonder Womans first appearance was in All Star Comics #8, published by All-American Publications, in 1952, Osamu Tezukas manga Tetsuwan Atom was published. The series focused upon a robot boy built by a scientist to replace his deceased son, the 1950s saw the Silver Age of Comics. During this era DC introduced the likes of Batwoman in 1956, Supergirl, Miss Arrowette,1958 saw the debut of superhero Moonlight Mask on Japanese television. In 1963, Astro Boy was adapted into a highly influential anime television series, Phantom Agents in 1964 focused on ninjas working for the Japanese government and would be the foundation for Sentai-type series. Another important event was the debut of Mazinger Z by Go Nagai, Go Nagai also wrote the manga Cutey Honey in 1973, although the Magical Girl genre already existed, Nagais manga introduced Transformation sequences that would become a staple of Magical Girl media. The dark Skull Man manga would later get a television adaptation, the protagonist was redesigned resemble a grasshopper, becoming the renowned first masked hero of the Kamen Rider series. Kamen Rider is a motorcycle riding hero in an insect-like costume, both major publishers began introducing new superheroines with a more distinct feminist theme as part of their origin stories or character development. Examples include Big Barda, Power Girl, and the Huntress by DC comics, and from Marvel, the second Black Widow, Shanna the She-Devil, and The Cat. In 1975 Shotaro Ishinomoris Himitsu Sentai Gorenger debuted on what is now TV Asahi, it brought the concepts of multi-colored teams, in 1978, Toei adapted Spider-Man into a live-action series. In subsequent decades, popular characters like Dazzler, She-Hulk, Elektra, Catwoman, Witchblade, Spider-Girl, Batgirl, volume 4 of the X-Men comic book series featured an all-female team as part of the Marvel NOW. branding initiative in 2013
5.
The Shadow
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The Shadow is a collection of serialized dramas, originally in 1930s pulp novels, and then in a wide variety of media. The radio drama included episodes voiced by Orson Welles, the character has been cited as a major influence on the subsequent evolution of comic book superheroes, particularly Batman. The first issue of The Shadow Magazine went on sale on April 1,1931, as in the magazine stories, The Shadow was not given the literal ability to become invisible. The introduction from The Shadow radio program Who knows what evil lurks in the hearts of men, spoken by actor Frank Readick Jr, has earned a place in the American idiom. These words were accompanied by a laugh and a musical theme. At the end of each episode The Shadow reminded listeners that, Crime does not pay. The Shadow knows. Chrisman and Sweets felt the series should be narrated by a mysterious storyteller with a sinister voice. One of their scriptwriters, Harry Engman Charlot, suggested various possibilities, Charlot then proposed the ideal name for the phantom announcer. Thus, beginning on July 31,1930, The Shadow was the given to the mysterious narrator of the Detective Story Hour. The narrator was voiced by James LaCurto, who was replaced after four months by prolific character actor Frank Readick Jnr. The episodes were drawn from the Detective Story Magazine issued by Street and Smith, although the latter company had hoped the radio broadcasts would boost the declining sales of Detective Story Magazine, the result was quite different. Listeners found the sinister announcer much more compelling than the unrelated stories and they soon began asking newsdealers for copies of that Shadow detective magazine, even though it did not exist. Recognizing the demand and responding promptly, circulation manager Henry William Ralston of Street & Smith commissioned Walter B, Gibson to begin writing stories about The Shadow. The first story produced was The Living Shadow, published April 1,1931, Gibsons characterization of The Shadow laid the foundations for the archetype of the superhero, including stylized imagery and title, sidekicks, supervillains, and a secret identity. Clad in black, The Shadow operated mainly after dark as a vigilante in the name of justice, Gibson himself claimed the literary inspirations upon which he had drawn were Bram Stokers Dracula and Edward Bulwer-Lyttons The House and the Brain. In the 1940s, some Shadow comic strips were translated in France as adventures of Judex, because of the great effort involved in writing two full-length novels every month, several guest writers were hired to write occasional installments in order to lighten Gibsons work load. These guest writers included Lester Dent, who wrote the Doc Savage stories. In the late 1940s, mystery novelist Bruce Elliott would temporarily replace Gibson as the author of the pulp series
6.
Doc Savage
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Doc Savage is a fictional character originally published in American pulp magazines during the 1930s and 1940s. He was created by publisher Henry W. Ralston and editor John L. Nanovic at Street & Smith Publications, the illustrations were by Walter Baumhofer, Paul Orban, Emery Clarke, Modest Stein, and Robert G. Harris. The heroic-adventure character would go on to appear in media, including radio, film. Into the 21st century, Doc Savage has remained an icon in the U. S. referenced in novels. Stan Lee has credited Doc Savage as being the forerunner to modern superheroes, the Doc Savage Magazine was printed by Street & Smith from March 1933 to the summer of 1949 to capitalize on the success of the Shadow magazine and followed by the original Avenger in September 1939. In all,181 issues were published in various entries and alternative titles, the stories were not reprinted in chronological order as originally published, though they did begin with the first adventure, The Man of Bronze. By 1967, Bantam was publishing once a month until 1990, author Will Murray produced seven more Doc Savage novels for Bantam Books from Lester Dents original outlines. Bantam also published a novel by Philip José Farmer, Escape From Loki, Clark Savage, Jr. first appeared in March 1933 in the first issue of Doc Savage Magazine. Because of the success of the Shadow, who had his own pulp magazine, Doc Savage set up base on the 86th floor of a world-famous New York skyscraper. Doc Savage fights against evil with the assistance of the Fabulous Five, Doc Savage has appeared in comics and a movie, on radio, and as a character in numerous other works, and continues to inspire authors and artists in the realm of fantastic adventure. Doc Savage Magazine was created by Street & Smith Publications executive Henry Ralston and editor John Nanovic to capitalize on the success of Street and Smiths pulp character, Dent wrote most of the 181 original novels, hidden behind the house name of Kenneth Robeson. Doc Savages real name is Clark Savage, Jr and he is a physician, scientist, adventurer, inventor, explorer, researcher, and, as revealed in The Polar Treasure, a musician. Doc is also a master of disguise and an excellent imitator of voices and he rights wrongs and punishes evildoers. Dent described the hero as a mix of Sherlock Holmes deductive abilities, Tarzans outstanding physical abilities, Craig Kennedys scientific education and he also described Doc Savage as manifesting Christliness. Docs character and world-view is displayed in his oath, which goes as follows, By the third story, Savage is accompanied on his adventures by up to five other regular characters, all highly accomplished individuals in their own right. Lieutenant Colonel Andrew Blodgett Monk Mayfair, an industrial chemist, Monk got his nickname from his simian build, notably his long arms, and his covering of red hair. He is in a constant state of friendly feuding with Ham Brooks and this began when his friend taught him some French words to say to an officer and Monk repeated them, not knowing they were a string of insults. The result was a stay in the guardhouse
7.
The Phantom Detective
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The Phantom Detective was the second pulp hero magazine published, after The Shadow. The first issue was released in February 1933, a month before Doc Savage, the title continued to be released until 1953, with a total 170 issues. This is the third highest number of issues for a pulp, after The Shadow, which had 325 issues, and Doc Savage. In western titles, Texas Rangers would have around 212 issues of their main character, the series was published by Ned Pines Thrilling Publishing. Ned Pines had a book imprint, which collectors usually refer to as Nedor Comics. Stories were credited to several pseudonyms, the first eleven Phantom Detective stories were published under the Better house pseudonym of G. Wayman Jones, and were largely written by D. L. Champion, a. k. a. The rest were published under the pseudonym Robert Wallace and these were largely written by Edwin V. Burkholder, Norman A. Daniels, Anatole F. Feldman, Charles Greenberg, George A. MacDonald, Laurence Donovan and C. S. Montanye. Lesser contributors included Paul Chadwick, Norvell W. Page, Paul Ernst, tepperman, Henry Kuttner, Ray Cummings, Ralph Oppenheim and others. Ryerson Johnson is credited with #46, The Silent Death, there have been several reprints of Phantom Detective stories over the years. Soft porn publisher Corinth Books released the most, with 20 titles, the Phantom is actually the wealthy Richard Curtis Van Loan. In the first few issues of the title, the Phantom is introduced as a detective, whose true identity is only known by one man—Frank Havens. Richard Curtis Van Loan is orphaned at an age. Before World War I, he leads the life of an idle playboy, after the war, Van Loan has a difficult time returning to his old life. At the suggestion of his fathers friend, Havens, he out to solve a crime that had stumped the police. After solving it, he decides he has found his calling and he trains himself in all facets of detection and forensics, and becomes a master of disguise and escape. He makes a name for himself as the Phantom, whom all police agencies around the world know, when dealing with law enforcement officials he carries a platinum badge in the shape of a domino mask as proof of his true identity. The initial stories were less about a detective than an adventurer using disguise, in one issue, Havens installs a red beacon on the roof of the Clarion building, which he turns on when he needs to see the Phantom. Other people in Van Loans life include Muriel Havens, Frank Havens daughter, with whom he is in love, Laurence Donovan introduced a kid sidekick named Chip Dorlan in the 1939 novel, The Sampan Murders
8.
Frank Munsey
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Frank Andrew Munsey was an American newspaper and magazine publisher and author. He was born in Mercer, Maine, but spent most of his life in New York City, the village of Munsey Park, New York is named for him, along with the Munsey Building in downtown Baltimore. Munsey is credited with the idea of using new high-speed printing presses to print on inexpensive, untrimmed and this innovation, known as pulp magazines, became an entire industry unto itself and made Munsey quite wealthy. He often shut down the process and changed the content of magazines when they became unprofitable. Munsey was of English ancestry, his family emigrated from England to America during the era in the early 1600s. Early in life, Munsey ran a store, at which he failed. He next became an operator and then manager of the Western Union telegraph office, in Augusta. Publishing was an industry in Augusta at the time. Munsey was very ambitious, and being in charge of the telegraph office gave him an insight of the printing business. In 1882 he moved from Augusta to New York City and entered the publishing industry and he formed a partnership with a friend in New York and an Augusta stockbroker. After arriving in New York, the stockbroker backed out of the agreement, approaching a New York publisher, Munsey managed to edit and produce the first issue of his magazine, Golden Argosy, only two months and nine days after his arrival. However, five months later, the publisher went bankrupt and entered receivership, by placing a claim for his unpaid salary, Munsey was able to take control of the magazine. Borrowing $300 from a friend in Maine, he managed to keep the magazine going while learning enough about the publishing industry to eventually succeed. Golden Argosy was a boys adventure magazine in a dime novel format with a mix of both articles and fiction. In 1888, the name was changed to The Argosy to attract an older audience and it was renamed Argosy Magazine, and by 1903, circulation climbed to a half million copies per month. In 1889 he founded Munseys Weekly, a 36-page quarto magazine, designed to be a magazine of the people and for the people, with pictures and art and good cheer and it was a success, soon selling 40,000 copies per week. In 1891 the magazine became a monthly, Munseys Magazine, in 1892 the magazine began to include a novel in every issue. By 1895 circulation was over half a million copies per month, in October,1906, he began publishing Railroad Mans Magazine, the first specialized pulp magazine which featured railroad related stories and articles
9.
Argosy (magazine)
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Argosy, later titled The Argosy and Argosy All-Story Weekly, was an American pulp magazine from 1882 through 1978, published by Frank Munsey. It is the first American pulp magazine, the magazine began as a childrens weekly story–paper entitled The Golden Argosy. Munsey put most of his money, around $500, into purchasing stories for the magazine, once he was in New York, the stockbroker backed out, and Munsey decided to release his New York friend from involvement, since they were now hopelessly underfunded. Munsey then pitched the magazine to a New York publisher, and managed to convince him to publish the magazine, the first issue was published on December 2,1882, and came out weekly. The first issue was eight pages, cost five cents, and included the first installments of serialized stories by Horatio Alger, Jr. and Edward S. Ellis. Other authors associated with Argosy s early days include Annie Ashmoore, W. H. W. Campbell, Harry Castlemon, Frank H. Converse, George H. Coomer, Mary A. Denison, Malcolm Douglas, Colonel A. B. Ellis, J. L. Harbour, D. O. S. Lowell, Oliver Optic, Richard H. Titherington, Edgar L. Warren and Matthew White, five months after the first issue, the publisher went bankrupt and entered receivership. By placing a claim for his salary, Munsey managed to assume control of the magazine. Munsey borrowed $300 from a friend in Maine, and managed to scrape along as he learned the fundamentals of the publishing industry. Munsey found that children had been a mistake, as they did not stay subscribed for any length of time. Additionally, children did not have money to spend, which limited the number of advertisers interested in reaching them. In December 1888 the title was changed to The Argosy, publication switched from weekly to monthly in April 1894, at which time the magazine began its shift towards pulp fiction. It eventually published its first all-fiction issue in 1896, the all-fiction Argosy launched a new genre of magazines, and is considered the pioneer among pulp magazines. The magazine switched back to a publication schedule in October 1917. In January 1919, The Argosy merged with Railroad Mans Magazine, prior to World War One, The Argosy had several notable writers, including Upton Sinclair, Zane Grey, Albert Payson Terhune, Gertrude Barrows Bennett, and former dime novelist William Wallace Cook. The All-Story Magazine magazine was another Munsey pulp, debuting in January 1905, this pulp was published monthly until March 1914. Effective March 7,1914, it changed to a weekly schedule, in May 1914, All-Story Weekly was merged with another story pulp, The Cavalier, and used the title All-Story Cavalier Weekly for one year. Editors of All-Story included Newell Metcalf and Robert H. Davis, in 1920, All-Story Weekly was merged into The Argosy, resulting in a new title, Argosy All-Story Weekly, which published works in a number of literary genres, including science fiction and Westerns
10.
Street & Smith
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Street & Smith or Street & Smith Publications, Inc. was a New York City publisher specializing in inexpensive paperbacks and magazines referred to as dime novels and pulp fiction. They also published books and sporting yearbooks. Among their many titles was the science fiction pulp magazine Astounding Stories, acquired from Clayton Magazines in 1933, Street & Smith was founded in 1855, and was bought out in 1959. The Street & Smith headquarters was at 79 Seventh Avenue in Manhattan, Francis Scott Street and Francis Shubael Smith began their publishing partnership in 1855 when they took over a broken-down fiction magazine. They then bought the existing New York Weekly Dispatch in 1858, Francis Smith was the company president from 1855 until his 1887 retirement, his son Ormond Gerald Smith taking over his role. Francis Smith died on February 1,1887, the company who owned a six story building at 79 Seventh Avenue became a publisher of inexpensive novels and weekly magazines starting in the 1880s and continuing into 1959. In the early decades of the 20th century, Ormond V. Gould was the company secretary, Ormond Smith remained company president until his death in 1933. In 1933, Street & Smith bought titles from Clayton Magazines, in 1934 they put out 35 different magazines, looked after by about a dozen editors including John Nanovic, Frank Blackwell, Daisy Bacon and F Orlin Tremayne. The company paid one cent a word, which was standard base rate amongst the major groups though fringe publishers paid less. In 1937, Street & Smith discontinued a number of their titles, including Top-Notch and Complete Stories. In 1938, Allen L. Grammer became president and he had spent more than twenty years as an ergonomics expert for Curtis Publishing Company, and made a small fortune inventing a new printing process. He moved the offices into a skyscraper, Street & Smith stopped publishing all their pulps and comics in 1949, selling off several of their titles to Popular Publications. Sales had declined with the advent of television, Condé Nast Publications bought the company for more than $3.5 million in 1959. The Street & Smith name survives as the publisher of Sports Business Journal. Horatio Alger Isaac Asimov Weldon J. Cobb Lester Dent Theodore Dreiser J. Allan Dunn Paul Ernst Walter B, leyendecker Tom Lovell Hubert Rogers Harold Winfield Scott Amos Sewell Modest Stein N. C. The Fiction Factory, Or, From Pulp Row to Quality Street, Street and Smith at the Grand Comics Database Carl Jacobi stories for Street & Smith The Pulp Jungle by Frank Gruber. Street and Smith Digital Collection Street and Smith Corporate Records at Syracuse University
11.
The Popular Magazine
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The Popular Magazine was an early American literary magazine that ran for 612 issues from November 1903 to October 1931. It featured short fiction, novellas, serialized larger works, the Popular Magazine touted itself as a magazine for men and women who like to read about men. The magazine had its headquarters in New York City, the magazine can be considered a forerunner of the pulp fiction magazines that were prominent from the 1920s to 1950s, as it avoided more highbrow fare in favor of fiction for the common man. Several issues of The Popular Magazine featured illustrations by N. C, one of the magazines earliest successes came with the publication of H. Rider Haggards novel Ayesha in 1905. The Popular Magazine published Craig Kennedy stories by Arthur B, reeve, and other crime fiction by Frederick William Davis and Lemuel De Bra. The magazine also carried many science fiction and fantasy stories by Edwin Balmer, John Buchan, John Collier, Roy Norton, Sax Rohmer, the magazine went through several slight name changes towards the end of its run. In December 1927 it became Popular Stories, and then a month later, in October 1928 the name was changed back to The Popular Magazine once again. The Popular Magazine was published by Street & Smith and edited by Henry Harrison Lewis from 1903 to 1904, a typical bi-monthly issue usually ran from 194 to 224 pages. A History of The Popular Magazine at the Pulp Magazines Project
12.
Page layout
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Page layout is the part of graphic design that deals in the arrangement of visual elements on a page. It generally involves organizational principles of composition to achieve specific communication objectives, the high-level page layout involves deciding on the overall arrangement of text and images, and possibly on the size or shape of the medium. It requires intelligence, sentience, and creativity, and is informed by culture, psychology, low-level pagination and typesetting are more mechanical processes. Given certain parameters - boundaries of areas, the typeface, font size. Until desktop publishing became dominant, these processes were still done by people, the result might be published as-is or might be tweaked by a graphic designer. With manuscripts, all of the elements are added by hand, so the creator can determine the layout directly as they create the work, any images would be created by engraving. This process is called imposition, and potentially includes arranging multiple pages to be printed on the sheet of paper which will later be folded. An imposition proof might be created to check the final placement, the invention of hot metal typesetting in 1884 sped up the typesetting process by allowing workers to produce slugs - entire lines of text - using a keyboard. The slugs were the result of metal being poured into molds temporarily assembled by the typesetting machine. The layout process remained the same as with metal type. Offset lithography allows the bright and dark areas of an image to control ink placement on the printing press and this means that if a single copy of the page can be created on paper and photographed, then any number of copies could be printed. Type could be set with a typewriter, or to achieve results comparable to letterpress. The IBM Selectric Composer, for example, could produce type of different size, different fonts, with photoengraving and halftone, physical photographs could be transferred into print directly, rather than relying on hand-made engravings. Completed pages become known as camera-ready, mechanicals or mechanical art and these machines became increasingly sophisticated, with computer-driven models able to store text on magnetic tape. In addition to being used as devices for computer operators. Printers attached directly to computers allowed them to print documents directly, early dot matrix printing was sufficient for office documents, but was of too low a quality for professional typesetting. Inkjet printing and laser printing did produce sufficient quality type, with modern desktop publishing software such as flagship software Adobe Indesign and cloud-based Lucidpress, the layout process can occur entirely on-screen. A finished document can be printed as the camera-ready version
13.
Ayesha (novel)
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Ayesha, the Return of She is a gothic-fantasy novel by the popular Victorian author H. Rider Haggard, published in 1905, as a sequel to his far more popular and well known novel, She. It was serialised in the Windsor Magazine in 1904-5 and its significance was recognised by its republication by the Newcastle Publishing Company as the fourteenth volume of the celebrated Newcastle Forgotten Fantasy Library series in October 1977. In the books prologue, the books anonymous Editor receives a parcel, opening it, he finds a letter from Horace Holly, with an enclosed manuscript containing a second memoir about She. There is also a letter, from Hollys doctor, to whom Holly has entrusted his letter and manuscript, along with a wooden box. The doctor recounts how, when attending Holly in his last hours, he arrived at the house to find that Holly had risen from his deathbed and made his way to a local ring of ancient standing stones. Following him, the doctor glimpsed a manifestation that appears to Holly, when the narrative of Hollys manuscript begins, nearly twenty years have passed since their first adventure in Africa, but he and his ward Leo Vincey are convinced that Ayesha did not die. Following their dreams, they wander for years through Asia, eventually coming to Thibet, taking refuge over winter in a remote lamasery, they meet the old Abbot Kou-En, who claims to recall a past-life encounter tales with a witch queen from the time of Alexander the Great. He believes the Queen is holding on to the distractions of life, which lead them away from Enlightenment and peace, whether she is a demon. Despite the Abbots warning, Leo is compelled to press on, Atene declares her love for Leo, but the jealous and dissolute Rassen wants to kill them. Atenes rival, the mysterious Hesea, orders Atene to send Leo and Holly to her, Atene vows to kill Leo, rather than let him go, but with the help of Rassen, they escape the city. However they soon realise that Rassen has betrayed them and is hunting them with his monstrous Death-Hounds and they make a dash to the foot of the mountain, where they are caught by Rassen, but after a desperate struggle they manage to kill the Khan and his hounds. As Leo and Holly ascend the Mountain they are intercepted by the people of Hes, who are joined by a ghost-like Messenger. After they arrive at the vast temple-palace complex near the summit, they are taken into the presence of the veiled Hesea, in accordance with ancient custom, Atene comes to the mountain temple for the funeral of Rassen. The Hesea now declares that she is indeed the reincarnation of Ayesha, to the horror of Leo and Holly, Ayesha reveals she has been reborn into the body of a wizened old crone, her beauty gone. Atene challenges Ayesha, but Leo declares his love for Ayesha, with his choice, the mysterious life-force within the volcano reaches out and engulfs her – when it clears, her former beauty and majesty has been restored. Ayesha vows that if Leo still loves her, they return to her ancient home in Africa. There they will both bathe in the Flame of Life, become immortal, and rule the world together, however she refuses Leos entreaties to marry him right away, saying that they must wait for the change of seasons and the weather to clear, before they can travel. While waiting out the winter, Ayesha writes her memories, Ayesha shows Holly and Leo how she commands mortals, spirits, and demons
14.
H. Rider Haggard
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Sir Henry Rider Haggard, KBE, known as H. Rider Haggard, was an English writer of adventure novels set in exotic locations, predominantly Africa, and a pioneer of the Lost World literary genre. He was also involved in agricultural reform throughout the British Empire and his stories, situated at the lighter end of Victorian literature, continue to be popular and influential. His father was born in Saint Petersburg, Russia, to British parents and this was because his father, who perhaps regarded him as somebody who was not going to amount to much, could no longer afford to maintain his expensive private education. After failing his entrance exam, he was sent to a private crammer in London to prepare for the entrance exam for the British Foreign Office. During his two years in London he came into contact with people interested in the study of psychical phenomena. In 1875, Haggards father sent him to what is now South Africa to take up a position as assistant to the secretary to Sir Henry Bulwer. In 1876 he was transferred to the staff of Sir Theophilus Shepstone and it was in this role that Haggard was present in Pretoria in April 1877 for the official announcement of the British annexation of the Boer Republic of the Transvaal. Indeed, Haggard raised the Union flag and read out much of the following the loss of voice of the official originally entrusted with the duty. At about that time, Haggard fell in love with Mary Elizabeth Lilly Jackson, in 1878 he became Registrar of the High Court in the Transvaal, and wrote to his father informing him that he intended to return to England and marry her. His father forbade it until Haggard had made a career for himself, and by 1879 Jackson had married Frank Archer, when Haggard eventually returned to England, he married a friend of his sister, Marianna Louisa Margitson in 1880, and the couple travelled to Africa together. They had a son named Jack and three daughters, Angela, Dorothy and Lilias, Lilias Rider Haggard became an author, edited The Rabbit Skin Cap and I Walked By Night, and wrote a biography of her father entitled The Cloak That I Left. Moving back to England in 1882, the couple settled in Ditchingham, Norfolk, later they lived in Kessingland and had connections with the church in Bungay, Suffolk. Haggard turned to the study of law and was called to the bar in 1884 and his practice of law was desultory and much of his time was taken up by the writing of novels which he saw as being more profitable. Haggard lived at 69 Gunterstone Road in Hammersmith, London, from mid-1885 to circa April 1888 and it was at this Hammersmith address that he completed King Solomons Mines. Haggard was heavily influenced by the larger-than-life adventurers whom he met in Colonial Africa, most notably Frederick Selous, Haggard belonged to the Athenaeum, Savile, and Authors clubs. Years later, when Haggard was a successful novelist, he was contacted by his love, Lilly Archer. She had been deserted by her husband, who had embezzled funds entrusted to him and had fled bankrupt to Africa, Haggard installed her and her sons in a house and saw to the childrens education. Lilly eventually followed her husband to Africa, where he infected her with syphilis before dying of it himself, Lilly returned to England in late 1907, where Haggard again supported her until her death on 22 April 1909
15.
She: A History of Adventure
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She—subtitled A History of Adventure—is a novel by H. Rider Haggard, first serialised in The Graphic magazine from October 1886 to January 1887. She was extraordinarily popular upon its release and has never been out of print, according to literary historian Andrew M. Stauffer, She has always been Rider Haggards most popular and influential novel, challenged only by King Solomons Mines in this regard. The story is a narrative that follows the journey of Horace Holly. There they encounter a race of natives and a mysterious white queen named Ayesha who reigns as the all-powerful She. In this work, Rider Haggard developed the conventions of the Lost World subgenre and she is placed firmly in the imperialist literature of nineteenth-century England, and inspired by Rider Haggards experiences of South Africa and British colonialism. The story expresses numerous racial and evolutionary conceptions of the late Victorians, especially notions of degeneration, in the figure of She, the novel notably explored themes of female authority and feminine behaviour. It has received praise and criticism alike for its representation of womanhood, a young Cambridge University professor, Horace Holly, is visited by a colleague, Vincey, who reveals that he will soon die. Vincey proceeds to tell Holly a fantastical tale of his family heritage and he charges Holly with the task of raising his young son, Leo and gives Holly a locked iron box, with instructions that it is not to be opened until Leo turns 25. Holly agrees, and indeed Vincey is found dead the next day, Holly raises the boy as his own, when the box is opened on Leos 25th birthday they discover the ancient and mysterious Sherd of Amenartas, which seems to corroborate Leos fathers story. Holly, Leo and their servant, Job, follow instructions on the Sherd and they alone survive, together with their Arab captain, Mahomed, after a perilous journey into an uncharted region of the African interior, they are captured by the savage Amahagger people. The adventurers learn that the natives are ruled by a white queen. The Amahagger are curious about the white-skinned interlopers, having been warned of their coming by the mysterious queen, Billali, the chief elder of one of the Amahagger tribes, takes charge of the three men, introducing them to the ways of his people. One of the Amahagger maidens, Ustane, takes a liking to Leo and, by kissing him and embracing him publicly, Leo, likewise, grows very fond of her. Billali tells Holly that he needs to go and report the white mens arrival to She, in his absence, some of the Amahagger become restless and seize Mahomed, intending to eat him as part of a ritual hot pot. Mahomed dies from the hot pot, all seems lost as the Amahagger resolve to kill Ustane along with the white men but Billali returns in the nick of time and declares that the three men are under the protection of She. Leos condition, however, worsens and he nears death as Ustane faithfully attends to him and they are taken to the home of the queen, which lies near the ruins of the lost city of Kôr, a once mighty civilisation that predated the Egyptians. The queen and her live under a dormant volcano in a series of catacombs built as tombs for the people of Kôr. There, Holly is presented to the queen, a sorceress named Ayesha
16.
Edgar Rice Burroughs
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Edgar Rice Burroughs was an American writer best known for his creations of the jungle hero Tarzan and the heroic Mars adventurer John Carter, although he produced works in many genres. Burroughs was born on September 1,1875, in Chicago, Illinois, the son of Major George Tyler Burroughs, a businessman and Civil War veteran. His middle name is from his grandmother, Mary Rice Burroughs. Burroughs was of almost entirely English ancestry, with a line that had been in North America since the early colonial era. Through his grandmother Mary Rice, he was descended from Edmund Rice and he once remarked, I can trace my ancestry back to Deacon Edmund Rice. The Burroughs side of the family was also of English origin, many of his ancestors fought in the American Revolution. He had other ancestors who settled in Virginia during the colonial period, Burroughs was educated at a number of local schools, and during the Chicago influenza epidemic in 1891, he spent half a year at his brothers ranch on the Raft River in Idaho. He then attended Phillips Academy, in Andover, Massachusetts, graduating in 1895, and failing the entrance exam for the United States Military Academy at West Point, he became an enlisted soldier with the 7th U. S. Cavalry in Fort Grant, Arizona Territory. After being diagnosed with a problem and thus ineligible to serve. After his discharge, Burroughs worked a number of different jobs and he drifted and worked on a ranch in Idaho. He found work at his fathers firm in 1899 and he married his childhood sweetheart, Emma Hulbert, in January 1900. In 1904, he left his job and worked regularly, first in Idaho. By 1911, after seven years of low wages, he was working as a pencil-sharpener wholesaler, by this time, he and Emma had two children, Joan, who later married the Tarzan film actor James Pierce, and Hulbert. During this period, he had spare time and began reading pulp fiction magazines. In 1929 he recalled thinking that. if people were paid for writing rot such as I read in some of those magazines, in 1913, Burroughs and Emma had their third and last child, John Coleman Burroughs, later known for his illustrations of his fathers books. In the 1920s Burroughs became a pilot, purchased a Security Airster S-1, Burroughs divorced Emma in 1934, and in 1935 he married the former actress Florence Gilbert Dearholt, the former wife of his friend Ashton Dearholt. Burroughs adopted the Dearholts two children and he and Florence divorced in 1942. Burroughs was in his late 60s and was in Honolulu at the time of the Japanese attack on Pearl Harbor
17.
Robert E. Howard
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Robert Ervin Howard was an American author who wrote pulp fiction in a diverse range of genres. He is well known for his character Conan the Barbarian and is regarded as the father of the sword, Howard was born and raised in Texas. He spent most of his life in the town of Cross Plains with some time spent in nearby Brownwood, a bookish and intellectual child, he was also a fan of boxing and spent some time in his late teens bodybuilding, eventually taking up amateur boxing. From the age of nine he dreamed of becoming a writer of adventure fiction, thereafter, until his death by suicide at age 30, Howards writings were published in a wide selection of magazines, journals, and newspapers, and he had become successful in several genres. Although a Conan novel was published in 1934, his stories never appeared in book form during his lifetime. The main outlet for his stories was the pulp magazine Weird Tales, with Conan and his other heroes, Howard created the genre now known as sword and sorcery, spawning many imitators and giving him a large influence in the fantasy field. Howard remains a highly read author, with his best works still reprinted, howard’s suicide and the circumstances surrounding it have led to speculation about his mental health. His mother had been ill with tuberculosis his entire life, and upon learning she had entered a coma from which she was not expected to wake, he walked out to his car and shot himself in the head. Howard was born January 22,1906 in Peaster, Texas, the son of a traveling country physician, Dr. Isaac Mordecai Howard. His early life was spent wandering through a variety of Texas cowtowns and boomtowns, Dark Valley, Seminole, Bronte, Poteet, Oran, Wichita Falls, Bagwell, Cross Cut, during Howards youth his parents relationship began to break down. The Howard family had problems with money which may have been exacerbated by Isaac Howard investing in get-rich-quick schemes, Hester Howard, meanwhile, came to believe that she had married below herself. Soon the pair were actively fighting, Hester did not want Isaac to have anything to do with their son. She had a strong influence on her sons intellectual growth. She had spent her early years helping a variety of sick relatives and she instilled in her son a deep love of poetry and literature, recited verse daily and supported him unceasingly in his efforts to write. Other themes began to appear at time which would later seep into his prose. Although he loved reading and learning, he found school to be confining, experiences watching and confronting bullies revealed the omnipresence of evil and enemies in the world, and taught him the value of physical strength and violence. Firsthand tales of gunfights, lynchings, feuds, and Indian raids developed his distinctly Texan, sports, especially boxing, became a passionate preoccupation. At the time, boxing was the most popular sport in the country, with a cultural influence far in excess of what it is today
18.
Talbot Mundy
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Talbot Mundy was an English-born American writer of adventure fiction. Based for most of his life in the United States, he wrote under the pseudonym of Walter Galt. Best known as the author of King of the Khyber Rifles, Mundy was born to a conservative middle-class family in Hammersmith, London. Educated at Rugby College, he left with no qualifications and moved to British India and he relocated to East Africa, where he worked as an ivory poacher and then as the town clerk of Kisumu. In 1909 he moved to New York City in the U. S. where he found living in poverty. A friend encouraged him to writing about his life experiences. He soon began selling stories and non-fiction articles to a variety of pulp magazines, such as Argosy, Cavalier. In 1914 Mundy published his first novel, Rung Ho. soon followed by The Winds of the World and King of the Khyber Rifles, all of which were set in British India and drew upon his own experiences. Critically acclaimed, they were published in both the U. S. and U. K, becoming a U. S. citizen, in 1918 he joined the Christian Science new religious movement, and with them moved to Jerusalem to establish the citys first English-language newspaper. Returning to the U. S. in 1920, he began writing the Jimgrim series, spending time at the Theosophical community of Lomaland in San Diego, California, he became a friend of Katherine Tingley and embraced Theosophy. Many of his novels produced in the years, most notably Om, The Secret of Ahbor Valley and The Devils Guard. He also involved himself in various failed business ventures, including an oil drilling operation in Tijuana, during the Great Depression he supplemented his career writing novels and short stories by authoring scripts for the radio series Jack Armstrong, the All-American Boy. In later life he suffered from diabetes, eventually dying of complications arising from the disease and his work has been cited as an influence on a variety of later science-fiction and fantasy writers, and he has been the subject of two biographies. Mundy was born as William Lancaster Gribbon on 23 April 1879 at his home of 59 Milson Road. The following month he was baptised into the Anglican denomination of Christianity at the local St. Matthews Church and his father, Walter Galt Gribbon, had been born in Leeds, Yorkshire as the son of a porcelain and glass merchant. Gribbon had studied at Oxford Universitys St. Johns College and then trained as a barrister before relocating to Swansea, after his first wifes death, he married Mundys mother, Margaret Lancaster, in Nantyglo in July 1878. A member of an English family based in Wales, she was the brother of the politician John Lancaster, after a honeymoon in Ilfracombe, Devon, the newly married couple moved to Hammersmith, where Mundy was their first child. They would have three children, Walter Harold, Agnes Margaret, and Florence Mary, although the latter died in infancy
19.
A. Merritt
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Abraham Grace Merritt – known by his byline, A. Merritt – was an American Sunday magazine editor and a writer of fantastic fiction, the Science Fiction and Fantasy Hall of Fame inducted him in 1999, its fourth class of two deceased and two living writers. Born in Beverly, New Jersey, he moved to Philadelphia, Pennsylvania in 1894, originally trained in law, he turned to journalism, first as a correspondent and later as editor. He was assistant editor of The American Weekly from 1912 to 1937 under Morrill Goddard, as editor, he hired the unheralded new artists Virgil Finlay and Hannes Bok and promoted the work done on polio by Sister Elizabeth Kenny. His fiction, eight novels and a number of short stories, was only a sideline to his journalism career. One of the journalists of his era, Merritt made $25,000 per year by 1919. His financial success allowed him to pursue world travel—he invested in real estate in Jamaica and Ecuador—and exotic hobbies, like cultivating orchids and plants linked to witchcraft and magic. Merritt married twice, once in the 1910s to Eleanore Ratcliffe, with whom he raised an adopted daughter and he died suddenly of a heart attack, at his winter home in Indian Rocks Beach, Florida, in 1943. Merritts writings were influenced by H. Rider Haggard, Robert W. Chambers, Helena Blavatsky and Gertrude Barrows Bennett, with Merritt having emulated Bennetts earlier style. Merritts stories typically revolve around conventional pulp magazine themes, lost civilizations, hideous monsters and his heroes are gallant Irishmen or Scandinavians, his villains treacherous Germans or Russians and his heroines often virginal, mysterious and scantily clad. What sets Merritt apart from the pulp author, however, is his lush, florid prose style and his exhaustive, at times exhausting. Merritts fondness for micro-description nicely complements the pointillistic style of Boks illustrations, Merritts first fantasy story was published in 1917, Through the Dragon Glass in the November 14 issue of Frank Munseys All-Story Weekly. Dwellers in the Mirage, and Creep, Shadow, meanwhile, rather few of his stories appeared elsewhere, The Pool of the Stone God, The Woman of the Wood, The Metal Emperor, and The Drone Man. Merritt also contributed to the round robin story The Challenge from Beyond with Lovecraft, Robert E. Howard, C. L. Moore, the Fox Woman and the Blue Pagoda combined an unfinished story with a conclusion written by Merritts friend Hannes Bok. The Fox Woman and Other Stories collected the same fragment, minus Boks conclusion, the book The Black Wheel was published in 1948, after Merritts death, it was written by Bok using previously unpublished material as well. Both these books were illustrated by Bok and published by the small press The New Collectors Group in hardcover. After Merritts death, Sam Moskowitz discovered a number of poems among his papers, though some may have been written by other authors, they were credited to Merritt when published. Merritt was an influence on H. P. Lovecraft and Richard Shaver
20.
Robert Leslie Bellem
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Robert Leslie Bellem was an American pulp magazine writer, best known for his creation of Dan Turner, Hollywood Detective. Before becoming a writer he worked in Los Angeles as a reporter, radio announcer. Bellem wrote in a variety of genres for many magazines, particularly those owned by Culture Publications such as Spicy Detective, Spicy Adventure, Spicy Western. The word spicy in the titles of magazines was meant to indicate sexual content. Bellems most famous creation was the hardboiled detective Dan Turner, Hollywood Detective, whose stories were written in the first person in a racy, slangy style that made them extremely popular. Bellem also created characters, such as Nick Ransom who appeared a few times in Thrilling Detective. It is claimed that Bellem produced some 3000 short stories in a pulp magazine career lasting less than 30 years and he also wrote at least two novels, of which the best known is Blue Murder. Contains excerpts from several of the Dan Turner stories, with Perelmans satiric comments, Robert Leslie Bellems entry at the Internet Movie Database Robert Leslie Bellem bibliographies 1-2 at HARD-BOILED site Robert Leslie Bellem at the Internet Speculative Fiction Database
21.
Adventure (magazine)
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Adventure was an American pulp magazine that was first published in November 1910 by the Ridgway company, an offshoot of the Butterick Publishing Company. Adventure went on to one of the most profitable and critically acclaimed of all the American pulp magazines. The magazines first editor was Trumbull White, he was succeeded in 1912 by Arthur Sullivant Hoffman, in its first decade, Adventure carried fiction from such notable writers as Rider Haggard, Rafael Sabatini, Baroness Orczy, Damon Runyon and William Hope Hodgson. Tuttle, Gordon MacCreagh, Henry S. Whitehead, Hugh Pendexter, Robert J. Pearsall, in 1912, Hoffman and his assistant, the novelist Sinclair Lewis created a popular identity card with a serial number for readers. If the bearer were killed, someone finding the card would notify the magazine who would in turn notify the next of kin of the hapless adventurer, the popularity of the card amongst travelers led to the formation of the Adventurers Club of New York. The original New York Adventurers Club led to clubs in Chicago, Los Angeles, Copenhagen. Hoffman also was secretary of an organization named the Legion that had Theodore Roosevelt Jr. as one of its vice presidents, Hoffmans group would later provide a model for the organisation of the American Legion after the war. Adventures letters page, The Camp-Fire featured Hoffmans editorials, background by the authors to their stories, at Hoffmans suggestion, a number of Camp-Fire Stations - locations where other readers of Adventure could meet up - were established. Robert Kenneth Jones notes that Adventure readers. often wrote in to report on meeting new friends through these stations, by 1924, there were Camp-Fire Stations established across the US and in several other countries, including Britain, Australia, Egypt and Cuba. Adventure also offered Camp-Fire buttons which readers wore, several of Adventures fiction writers also wrote material for this column on their respective areas of expertise, including Gordon MacCreagh, Captain A. E. Dingle and George E. Holt. Lost Trails, which helped people locate missing relatives and friends, old Songs Men Have Sung, by Robert W. Gordon, which was dedicated to discussing American folk-songs. Gordon would later run the Archive of American Folk Song at the Library of Congress, Hoffman encouraged the details of his writers fiction to be as factually accurate as possible-mistakes would frequently be pointed out and criticised by the magazines readers. In 1915 the publishers attempted to reach women readers with a new title, in addition, Adventure under Hoffman also showcased the work of several famous artists, including Rockwell Kent, John R. Neill, Charles Livingston Bull, H. C. By 1924, Adventure was regarded, in the words of Richard Bleiler, after Hoffmans departure, his successors usually followed the template for the magazine that he had set down. In 1934, Adventure was bought by Popular Publications, throughout the 1930s, Adventure included fiction by Erle Stanley Gardner, Donald Barr Chidsey, Raymond S. Spears, Major Malcolm Wheeler-Nicholson, Luke Short, and Major George Fielding Eliot. Adventure continued to publish pieces by noted figures, including future film producer Val Lewton. During Adventures 25th anniversary in 1935, TIME Magazine praised Adventure as being the No.1 pulp. artists on the publication during the 1930s and 1940s included Walter M. Baumhofer, Hubert Rogers, Rafael De Soto, Lawrence Sterne Stevens and Norman Saunders. The magazines main editor in the 1940s was Kenneth S. White, nevertheless, this version of Adventure did sometimes publish fiction by noted authors, including a story by Norman Mailer, The Paper House in the December 1958 issue
22.
Blue Book (magazine)
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Blue Book was a popular 20th-century American magazine with a lengthy 70-year run under various titles from 1905 to 1975. It was a magazine to Redbook. In its early days, Blue Book also carried a supplement on theatre actors called Stageland, the magazine was aimed at both male and female readers. For the next 45 years, it was known as The Blue Book Magazine, Blue Book Magazine, Blue Book, the title was shortened with the February 1952 issue to simply Bluebook, continuing until May 1956. With a more exploitative angle, the magazine was revived with an October 1960 issue as Bluebook for Men, in its 1920s heyday, Blue Book was regarded as one of the Big Four pulp magazines, along with Adventure, Argosy and Short Stories. The early publishers were Story-Press Corporation and Consolidated Magazines, followed in 1929 by McCall, publications took over the reins in October 1960, Hanro was the publisher from August 1964 until March 1966 and then the QMG Magazine Corporation, beginning April 1967. The succession of editors included Karl Edward Harriman, Donald Kennicott, Maxwell Hamilton and Andre Fontaine in the mid-1950s, Maxwell Hamilton returned for the 1960 revival, followed by B. R. Ampolsk in 1967. Cover artists during the 1930s included Dean Cornwell, Joseph Chenoweth, Henry J. Soulen and Herbert Morton Stoops, the first Blue Book contributors included science-fiction authors George Allan England and William Hope Hodgson, as well as the Freelances in Diplomacy series by Clarence H. New a series of early spy stories, rider Haggard and Albert Payson Terhune also published work in Blue Book. In addition to Tarzan, Burroughts published material about Nyoka, the Jungle Girl in Blue Book, Nyoka first appeared in The Land of Hidden Men, a 1929 Blue Book short story by Burroughs. The characters of Sax Rohmer, James Oliver Curwood, and Zane Grey appeared in Blue Book, Adventure fiction was a staple of Blue Book, in addition to Burroughs, P. C. Wren, H. Bedford-Jones, Achmed Abdullah, George F. Worts, Lemuel De Bra and William L. Chester all published in the magazine. Sea stories were popular in Blue Book, and George Fielding Eliot, Captain A. E. Dingle. Writers during the 1940s included Nelson S. Bond, Max Brand, Gelett Burgess, Eustace Cockrell, Irvin S. Cobb, Robert A. Heinlein, MacKinlay Kantor, Willy Ley, Theodore Pratt. Ivan Sanderson, Luke Short, Booth Tarkington, Malcolm Wheeler-Nicholson, Philip Wylie, Blue Book managed to attract fiction from a number of authors who did not normally publish in pulp magazines, including Georges Simenon, Shelby Foote and William Lindsay Gresham. An anthology of stories from the magazine is Best Sea Stories from Bluebook, pulp historian Ed Hulse has stated that between the 1910s and the 1950s Blue Book achieved and sustained a level of excellence reached by few other magazines. An Index to Blue Book Magazine, compiled by Mike Ashley, Victor A. Berch, Sax Rohmer in Blue Book Magazine
23.
Amazing Stories
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Amazing Stories is an American science fiction magazine launched in April 1926 by Hugo Gernsbacks Experimenter Publishing. It was the first magazine devoted solely to science fiction, Science fiction stories had made regular appearances in other magazines, including some published by Gernsback, but Amazing helped define and launch a new genre of pulp fiction. Amazing was published, with interruptions, for almost eighty years, going through a half-dozen owners. Gernsback was forced into bankruptcy and lost control of the magazine in 1929, and by 1938 it was purchased by Ziff-Davis, Palmer made the magazine successful though it was not regarded as a quality magazine within the science fiction community. Amazing switched to a digest size format in 1953, shortly before the end of the pulp-magazine era. Ted White took over as editor in 1969, eliminated the reprints and made the magazine respected again, several other owners attempted to create a modern incarnation of the magazine in the following decades, but publication was suspended after the March 2005 issue. A new incarnation appeared in July 2012 as an online magazine, Gernsbacks initial editorial approach was to blend instruction with entertainment, he believed science fiction could educate readers. His audience rapidly showed a preference for implausible adventures, however, despite this, Gernsback had an enormous impact on the field, the creation of a specialist magazine for science fiction spawned an entire genre publishing industry. The letter columns in Amazing, where fans could make contact with other, led to the formation of science fiction fandom. Writers whose first story was published in the magazine include John W. Campbell, Isaac Asimov, Howard Fast, Le Guin, Roger Zelazny, and Thomas M. Disch. Overall, though, Amazing itself was rarely an influential magazine within the genre after the 1920s, by the end of the 19th century, stories centered on scientific inventions, and stories set in the future, were appearing regularly in popular fiction magazines. The market for short stories lent itself to tales of invention in the tradition of Jules Verne, Magazines such as Munseys Magazine and The Argosy, launched in 1889 and 1896 respectively, carried a few science fiction stories each year. In 1908, Hugo Gernsback published the first issue of Modern Electrics and it was an immediate success, and Gernsback began to include articles on imaginative uses of science, such as Wireless on Saturn. In 1920 Gernsback retitled the magazine Science and Invention, and through the early 1920s he published much scientific fiction in its pages, Gernsback had started another magazine called Practical Electrics in 1921. However, in 1926 he decided to go ahead, and ceased publication of The Experimenter to make room in his schedule for a new magazine. The editor of The Experimenter, T. OConor Sloane, became the editor of Amazing Stories, the first issue appeared on 10 March 1926, with a cover date of April 1926. Initially the magazine focussed on reprints, the first original story was “The Man From the Atom ” by G. Peyton Wertenbaker in the May 1926 issue, in the August issue, new stories were noted with an asterisk in the table of contents. The editorial work was largely done by Sloane, but Gernsback retained final say over the fiction content, Two consultants, Conrad A. Brandt and Wilbur C
24.
Black Mask (magazine)
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Black Mask was a pulp magazine first published in April 1920 by the journalist H. L. Mencken and the drama critic George Jean Nathan. The magazines first editor was Florence Osborne, the magazine was then edited by George W. Sutton, followed by Philip C. Under Codys editorship, the content of Black Mask became more sensationalist, Cody, who had a keen sense for what appealed to the public marketplace, focused on what had the most reader allure. Under Cody the stories chosen for publication were longer, more intricatly plotted and strewn with blood, guts, gore. Cody served as both circulation Editor and general Editor from 1924-1926, in 1926, Joseph Shaw took over the editorship. Early Black Mask contributors of note included J. S. Fletcher, Vincent Starrett, Shaw, following up on a promising lead from one of the early issues, promptly turned the magazine into an outlet for the growing school of naturalistic crime writers led by Carroll John Daly. Dalys private detective Race Williams was a character with a sharp tongue. Davis, Raoul F. Whitfield, Theodore Tinsley, Todhunter Ballard, Dwight V. Babcock, pettee, Marion OHearn, Kay Krausse, Frances Beck, Tiah Devitt and Dorothy Dunn. Crime fiction made up most of the content, but Black Mask also published some Western. The magazine was successful, and many of the writers whose work appeared in its pages, cave, went on to greater commercial and critical success. Black Masks covers were painted by Fred Craft or J. W. Schlaikjer. Shaw gave Arthur Rodman Bowker a monopoly on creating illustrations for the interior of the magazine, Black Mask reached a sales peak in the early 1930s, but then interest began to wane under increasing pressure from radio, the cinema, and rival pulp magazines. In 1936, refusing to cut writers already meager pay, Shaw resigned, shaws successor, Fanny Ellsworth, managed to attract new writers to Black Mask, including Cornell Woolrich, Frank Gruber, Max Brand and Steve Fisher. However, from the 1940s on, Black Mask was in decline, despite the efforts of a new editor, the magazine in this period carried the work of John D. MacDonald. Henry Steeger then edited Black Mask anonymously until it ceased publication in 1951, in 1985, the magazine was revived as The New Black Mask, featuring noted crime writers James Ellroy, Michael Collins, Sara Paretsky and Bill Pronzini, as well as Chandler and Hammett reprints. Edward D. Hoch praised the revived Black Mask, stating in the book Encyclopedia Mysteriosa that it close to reviving the excitement. As a result of a dispute over the rights to the name Black Mask. It was revived as a magazine entitled A Matter of Crime
25.
Flying Aces (magazine)
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Flying Aces was a monthly American periodical of short stories about aviation, one of a number of so-called flying pulp magazines popular during the 1920s and 1930s. Like other pulp magazines, it was a collection of stories, originally printed on coarse. The magazine was launched in October 1928 by Periodical House, Inc and it featured stories written and illustrated by known authors of the day, often set against the background of World War I. Later issues added non-fiction aviation articles, as well as articles, the latter became more prominent, and eventually the magazine was renamed Flying Models, and catered exclusively to model airplane hobbyists. The period from the late 1920s through the 1930s is considered the heyday of pulp fiction, over 200 magazines were published monthly, reaching an audience of 10 million readers, with the most successful titles selling up to a million copies per issue. Publications were highly specialized, with each category having its own set of magazines, readers, and reader expectations. This period also coincided with the days of aviation, highlighted by feats such as Lindberghs solo flight across the Atlantic. The movie led to similar films, and a plethora of aviation-oriented pulp magazines followed. The magazine’s genre was air adventure stories, some set against a war background, written by authors such as Lester Dent, Donald E. Keyhoe, Joe Archibald. With the exception of Keyhoe and Whitehouse, who was with the RAF in World War I, the plot invariably centered on a hero — a military pilot — trapped in a difficult situation, from which he would extricate himself utilizing exceptional flying skills. The stories never featured any love interest or profanity, attempts to introduce such elements were soundly rejected by the readership. Get her out of the series of Kerry Keene stories, the cover art featured dramatic air battle scenes painted by notable commercial artists of the day, such as Alex Schomburg and his brother August Schomburg. Many of the stories published were part of long-running series, featuring well developed characters who appeared in every story, created by Arch Whitehouse, Kerry Keene, the Griffon, was a Department of Justice employee, and the pilot of an amphibian plane. The plane incorporated many design elements, such as folding wings. This enabled the plane to land on water in Long Island Sound and then run up into a hangar on land. Keene was accompanied by his side-kick, an Irish mechanic named Barney O’Dare, several features of the plane were incorporated into airplane models sold by the magazine’s advertisers. 43 stories were published between 1935 and 1942, altus Press is doing a reprint series, with Pro Se Press doing new stories. Joe Archibald created the character of Lt. Phineas Pinkham, a World War I pilot stationed in Bar-le-Duc, France, as part of the 9th pursuit squadron
26.
Horror Stories (magazine)
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Horror Stories was an American pulp magazine that published tales of the supernatural, horror, and macabre. The first issue was published in January 1935, three years after the weird menace genre had begun with Dime Mystery Magazine, Horror Stories was a sister magazine to Terror Tales, whose first issue came out a year earlier. The title went on to one of the major pulp magazines of the 1930s. Horror Stories was published by Popular Publications, founded by Harry Steeger, the magazine was issued with luridly illustrated covers featuring the theme of the damsel in distress, mostly executed by artist John Newton Howitt. Only one original cover painting has survived, Horror Stories ceased publication in 1941, because of the paper shortage after the United States entered World War II which equally effected other pulp publications. Due to the nature of its content and its short run of 47 issues. In 2005, Black Mask published a facsimile of issue 1, Magazines of this sort set a benchmark in macabre storytelling that inspired many of the U. S. horror comics from their appearance in 1947. Science fiction magazine Fantasy fiction magazine Horror fiction magazine Jones, Robert, the Shudder Pulps, A History of the Weird Menace Magazines of the 1930s. Horror Stories publisher & run details
27.
Marvel Tales
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Marvel Tales is the title of three American comic-book series published by Marvel Comics, the first of them from the companys 1950s predecessor, Atlas Comics. It is additionally the title of two unrelated, short-lived fantasy/science fiction magazines, the first publication using the title was the amateur magazine Marvel Tales, also known as Marvel Tales of Science and Fantasy, published by Fantasy Publications in Everett, Pennsylvania. The magazine ran five issues cover-dated May 1934 – Summer 1935, the next was a pulp magazine from future Marvel Comics publisher Martin Goodman. The title changed again, to Marvel Stories, for two final issues, the series was briefly revived from 1950 to 1952, when three further issues were published as Marvel Stories and three more as Marvel Science Fiction. In comic books, the first Marvel Tales was the continuation of the superhero anthology Marvel Mystery Comics, published by Marvel Comics initial iteration. This series ran through issue #92 and it then became Marvel Tales, an anthology of horror and fantasy stories, beginning with issue #93, with the bulk of this series run published by Marvels 1950s iteration, Atlas Comics. It ran 67 issues, through #159, ending with the collapse of Atlass distributor, American News Company, in the 1960s, during the Silver Age of Comics, the series Marvel Tales began as a summer special, Marvel Tales Annual, for its first two issues. Like typical annuals of the time, these were 25¢ giants, in 1966, the series became a bimonthly and later monthly reprint title, featuring Spider-Man stories primarily, from # 3–291. The first annual was a 72-page reprint anthology that gathered superhero origin stories from the two years, as well as a war comics story. An introduction to the Marvel Universe of the time, it contained complete debut stories of Spider-Man, Ant-Man. Iron Man, and Thor, and excerpts of the first appearances of the Hulk, Giant-Man, the version of Iron Man. Beginning with issue #3, the title was published bimonthly, continuing in the 25¢-giant format through #33. Through issue #12, Marvel Tales reprinted some of the earliest issues of The Amazing Spider-Man, as well as some of the earliest stories of Thor, Ant-Man, and Fantastic Four member the Human Torch. The Ant-Man stories were replaced after a few issues by anthological science-fiction stories framed as Tales of the Wasp and these in turn were replaced by 1950s Atlas Comics reprints of the superhero Marvel Boy in issues #13–16. That was dropped with #17, when 18-page Thor reprints replaced the earlier 13-page Thor reprints, in addition, the reprints had minor details and references changed in the stories to contemporary ones. Marvel Tales was cancelled with issue #291, Marvel published a flip book titled Marvel Tales Flip Magazine reprinting Spider-Man stories from The Amazing Spider-Man vol.2 on one side, and, on the other, Araña, from Amazing Fantasy vol. 2, through issue #6, and Runaways through the final issue, list of defunct American periodicals Atlas Tales The Unofficial Handbook of Marvel Comics Creators Marvel Science Stories, Galactic Central, Magazine Data File, p.223. Archive of The Silver Age Marvel Comics Cover Index, Part III, The Grandiose Years, Samcci Comics, September 21,2004
28.
Oriental Stories
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Oriental Stories, later retitled The Magic Carpet Magazine, was a pulp magazine of 1930-34, an offshoot of the famous Weird Tales. Like its parent, it was published by J. C. Hennebergers Rural Publications, as its titles indicate, the magazine specialized in adventure and fantasy stories with Oriental settings and elements. The magazine struggled financially for the entirety of its existence, it was published first bi-monthly, then quarterly, during the grimmest years of the Great Depression. Volume 1 of Oriental Stories consisted of 6 issues that appeared on newsstands from October 1930 through Autumn 1931, after a six-month hiatus, the first of four quarterly issues of Volume 3 appeared in January 1933, but with the new title The Magic Carpet. One notable contributor to The Magic Carpet was popular pulp author H. Bedford-Jones, still unable to muster sufficient circulation, Volume 4 started and ended with the single issue No.1 in January 1934. The Magic Carpet was then defunct, jaffery, Sheldon R. and Fred Cook. The Collectors Index to Weird Tales, Bowling Green State University Popular Press, Bowling Green, Ohio,1985. Appendix 1, pp. 149–52, Appendix 2, pp. 153–7
29.
Planet Stories
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Planet Stories was an American pulp science fiction magazine, published by Fiction House between 1939 and 1955. It featured interplanetary adventures, both in space and on planets, and was initially focused on a young readership. Malcolm Reiss was editor or editor-in-chief for all of its 71 issues, Planet Stories was launched at the same time as Planet Comics, the success of which probably helped to fund the early issues of Planet Stories. In 1952 Planet published Philip K. Dicks first sale, bradburys work for Planet included an early story in his Martian Chronicles sequence. Bracketts best-known work for the magazine was a series of adventures featuring Eric John Stark, the artwork also emphasized attractive women, with scantily clad damsels in distress or alien princesses on almost every cover. By the end of the 1930s the field was undergoing its first boom, Fiction House, a major pulp publisher, had run into difficulties during the Depression, but after a relaunch in 1934 found success with detective and romance pulp titles. The first issue was dated Winter 1939, with the Summer 1950 issue the editorship passed to Jerome Bixby, who was already editing Jungle Stories. Soon thereafter Planet Stories switched from a quarterly to bimonthly schedule, Bixby lasted a little over a year, Malcolm Reiss took over again in September 1951, and three issues later, in March 1952, Jack OSullivan became editor. A contemporary market survey records that in 1953, payment rates were only one to two cents per word, this was substantially behind the magazines of the day. Planet returned to a quarterly schedule beginning with the Summer 1954 issue, but the market was collapsing. Planet relied on a few authors to provide the bulk of its fiction in the years, with Nelson Bond providing eight lead stories. Fourteen more were written by Ray Cummings and Ross Rocklynne, and Leigh Brackett was also a regular contributor, the letter column in Planet was titled The Vizigraph, it was very active, with long letters from an engaged readership. Despite the focus on melodramatic space adventure, the fiction in Planet Stories improved over the few years, largely due to the work of Brackett. Both writers set many of their stories on a version of Mars that owed much to the Barsoom of Edgar Rice Burroughs. Bracketts writing improved during the 1940s from formulaic pulp adventure to a mature style. She wrote a series of stories featuring adventurer Eric John Stark. Also arguing in support of Planet Stories, science fiction critic John Clute has commented that the content was far more sophisticated than the covers. He also collaborated on a story with Leigh Brackett, Lorelei of the Red Mist, based on an idea of hers and his stories for Planet demonstrate his reservations about the advance of technology, in particular The Golden Apples of the Sun, and A Sound of Thunder
30.
Startling Stories
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Startling Stories was an American pulp science fiction magazine, published from 1939 to 1955 by publisher Ned Pines Standard Magazines. It was initially edited by Mort Weisinger, who was also the editor of Thrilling Wonder Stories, Startling ran a lead novel in every issue, the first was The Black Flame by Stanley G. Weinbaum. Friend was replaced by Sam Merwin, Jr. in 1945, clarkes Against the Fall of Night, and several other well-received stories. Much of Startlings cover art was painted by Earle K. Bergey and he was known for equipping his heroines with brass bras and implausible costumes, and the public image of science fiction in his day was partly created by his work for Startling and other magazines. In mid-1952, Standard attempted to change Startlings image by adopting a more sober title typeface and reducing the sensationalism of the covers, but by 1955 the pulp magazine market was collapsing. Startling absorbed its two magazines, Thrilling Wonder and Fantastic Story Magazine, in early 1955, but by the end of that year it too ceased publication. Ron Hanna of Wild Cat Books revived Startling Stories in 2007, by the end of the 1930s the field was booming. Standard Magazines, a publishing company owned by Ned Pines, acquired its first science fiction magazine, Thrilling Wonder Stories. Mort Weisinger, the editor of Thrilling Wonder, printed an editorial in February 1938 asking readers for suggestions for a companion magazine, response was positive, and the new magazine, titled Startling Stories, was duly launched, with a first issue, dated January 1939. Initial pay rates were half a cent per word, lower than the magazines of the day. Startling was launched on a schedule, alternating months with Thrilling Wonder Stories. The first editor was Mort Weisinger, who had been a fan in the early 1930s and had joined Standard Magazines in 1935. During Friends tenure Startling slipped from bimonthly to quarterly publication, Friend lasted for a little over two years, and was replaced by Sam Merwin, Jr. as of the Winter 1945 issue. Merwin succeeded in making Startling popular and successful, and the schedule was resumed in 1947. At the start of 1952 Startling switched to a schedule, this was unusual in that Startling was notionally junior to Thrilling Wonder, its sister magazine. Merwin left shortly before this switch, in order to more time on his own writing. He was replaced by Samuel Mines, who had worked with Standards Western magazines, street & Smith, one of the longest established and most respected publishers, shut down all of their pulp magazines in the summer of 1949. The pulps were dying, partially as a result of the success of paperbacks, Standard continued with Startling and Thrilling, but the end came only a few years later
31.
Wonder Stories
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Wonder Stories was an early American science fiction magazine which was published under several titles from 1929 to 1955. It was founded by Hugo Gernsback in 1929 after he had lost control of his first science magazine, Amazing Stories. Within a few months of the bankruptcy, Gernsback launched three new magazines, Air Wonder Stories, Science Wonder Stories and Science Wonder Quarterly, Air Wonder Stories and Science Wonder Stories were merged in 1930 as Wonder Stories, and the quarterly was renamed Wonder Stories Quarterly. The last issue was dated Winter 1955, and the title was merged with Startling Stories. Startling itself lasted only to the end of 1955 before finally succumbing to the decline of the magazine industry. The editors under Gernsbacks ownership were David Lasser, who worked hard to improve the quality of the fiction, under its new title, Thrilling Wonder Stories was initially unable to improve its quality. For a period in the early 1940s it was aimed at younger readers, with a juvenile editorial tone, later editors began to improve the fiction, and by the end of the 1940s, in the opinion of science fiction historian Mike Ashley, the magazine briefly rivaled Astounding. By the end of the 19th century, stories centered on scientific inventions and set in the future, Magazines such as Munseys Magazine and The Argosy, launched in 1889 and 1896 respectively, carried a few science fiction stories each year. The first science magazine, Amazing Stories, was launched in 1926 by Hugo Gernsback at the height of the pulp magazine era. Wonder Stories was launched in the era, not long after Amazing Stories. Gernsbacks new magazine, Amazing Stories, was successful, but Gernsback lost control of the publisher when it went bankrupt in February 1929, by April he had formed a new company, Gernsback Publications Incorporated, and created two subsidiaries, Techni-Craft Publishing Corporation and Stellar Publishing Corporation. Gernsback sent out letters advertising his plans for new magazines, the lists he used almost certainly were compiled from the subscription lists of Amazing Stories. This would have been illegal, as the lists were owned by Irving Trust, Gernsback denied using the lists under oath, but historians have generally agreed that he must have done so. The letters also asked potential subscribers to decide the name of the new magazine, they voted for Science Wonder Stories, Gernsbacks recovery from the bankruptcy judgment was remarkably quick. By early June he had launched three new magazines, two of which published science fiction, the June 1929 issue of Science Wonder Stories appeared on newsstands on 5 May 1929, and was followed on 5 June by the July 1929 issue of Air Wonder Stories. Both magazines were monthly, with Gernsback as editor-in-chief and David Lasser as editor, Lasser had no prior editing experience and knew little about science fiction, but his recently acquired degree from MIT convinced Gernsback to hire him. Gernsback claimed that science fiction was educational and he also recruited a panel of nationally known educators pass upon the scientific principles of all stories. However, Donald Menzel, the astrophysicist on the panel, has said that Gernsback sent him manuscripts, in 1930, Gernsback decided to merge Science Wonder Stories and Air Wonder Stories into Wonder Stories
32.
Unknown (magazine)
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Unknown was an American pulp fantasy fiction magazine, published from 1939 to 1943 by Street & Smith, and edited by John W. Campbell. The leading fantasy magazine in the 1930s was Weird Tales, which focused on shock and horror. Unknowns first issue appeared in March 1939, in addition to Sinister Barrier, it included H. L. Golds Trouble With Water, Golds story was the first of many in Unknown to combine commonplace reality with the fantastic. In May 1923, the first issue of Weird Tales appeared, Weird Tales was a pulp magazine that specialized in fantasy stories and material that no other magazine would accept. It was not initially successful, but by the 1930s had established itself and was regularly publishing science fiction as well as fantasy, Weird Tales was the first magazine to focus solely on fantasy, and it remained the pre-eminent magazine in this field for over a decade. In the meantime, science fiction was starting to form a separately marketed genre, with the appearance in 1926 of Amazing Stories, a pulp magazine edited by Hugo Gernsback. In 1930 pulp publisher Clayton Publications launched Astounding Stories of Super Science, the title was shortened to Astounding Stories, and it became the leading magazine in the science fiction field over the next few years under the editorship of F. Orlin Tremaine. At the end of 1937 John W. Campbell took over as editor, by 1938, Campbell was planning a fantasy companion to Astounding, Weird Tales was still the leader in the fantasy genre, though competitors such as Strange Stories were also being launched. Campbell began acquiring stories suitable for the new magazine, without a launch date in mind. When Eric Frank Russell sent him the manuscript of his novel Sinister Barrier, the first issue of Unknown appeared in March 1939. It was a monthly at first, but poor sales forced a switch to a bimonthly schedule beginning in February 1941. When wartime paper shortages became severe in late 1943, Campbell made the choice to keep Astounding monthly and cancel Unknown, the last issue was dated October 1943. Campbells plans for Unknown were laid out in the February 1939 issue of Astounding and he argued that it has been the quality of the fantasy that you have read in the past that has made the very word anathema. Will offer fantasy of a quality so far different from that which has appeared in the past as to change your understanding of the term. Campbell asked Russell for revisions to the story to emphasize the fantastic elements and this became a defining characteristic of the fiction published in Unknown, in Ashleys words, Campbell brought the science fiction rationale to fantasy. Under Campbells editorial supervision, the element in Unknown stories had to be treated rigorously. L. Ron Hubbard, Theodore Sturgeon, and L. Sprague de Camp were among the most prolific, de Camp, in collaboration with Fletcher Pratt, contributed three stories featuring Harold Shea, who finds himself in a world where magic operates by rigorous rules. The title of one of these, The Mathematics of Magic, is, according to sf critic John Clute, perfectly expressive of the terms under which magic found easy mention in Unknown
33.
Weird Tales
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Weird Tales is an American fantasy and horror fiction pulp magazine founded by J. C. Henneberger and J. M. Lansinger in March 1923, Henneberger sold his interest in the publisher, Rural Publishing Corporation, to Lansinger and refinanced Weird Tales, with Farnsworth Wright as the new editor. The first issue under Wrights control was dated November 1924, the magazine was more successful under Wright, and despite occasional financial setbacks it prospered over the next fifteen years. Under Wrights control the magazine lived up to its subtitle, The Unique Magazine, Lovecrafts Cthulhu mythos stories first appeared in Weird Tales, starting with The Call of Cthulhu in 1928. These were well-received, and a group of associated with Lovecraft wrote other stories set in the same milieu. Other well-liked authors included Nictzin Dyalhis, E. Hoffman Price, Robert Bloch, Edmond Hamilton wrote a good deal of science fiction for Weird Tales, though after a few years he used the magazine for his more fantastic stories, and submitted his space operas elsewhere. In 1938 the magazine was sold to William Delaney, the publisher of Short Stories, Weird Tales ceased publication in 1954, but since then numerous attempts have been made to relaunch the magazine, starting in 1973. The longest-lasting version began in 1988 and ran with a hiatus for over 20 years under an assortment of publishers. In the mid-1990s the title was changed to Worlds of Fantasy & Horror because of licensing issues, as of 2016, the most recent published issue was dated Spring 2014. In the late 19th century popular magazines typically did not print fiction to the exclusion of content, they would include non-fiction articles. In October 1896, the Frank A. Munsey companys Argosy magazine was the first to switch to printing only fiction and this is now regarded by magazine historians as having been the start of the pulp magazine era. Other titles that specialized in particular fiction genres followed, starting in 1915 with Detective Story Magazine, with Western Story Magazine following in 1919. C Henneberger, a journalist and magazine editor who had been publishing College Humor and Magazine of Fun, formed Rural Publishing Corporation of Chicago and their first venture was Detective Tales, a pulp magazine that appeared twice a month, starting with the October 1,1922 issue. It was initially unsuccessful, and as part of a refinancing plan Henneberger decided to publish another magazine that would allow him to some of his costs between the two titles. Henneberger had long been an admirer of Edgar Allan Poe, so he created a magazine that would focus on horror. Henneberger chose Edwin Baird, the editor of Detective Tales, to edit Weird Tales, Farnsworth Wright was first reader, and Otis Adelbert Kline also worked on the magazine, assisting Baird. Payment rates were low, usually between a quarter and a cent per word, the budget went up to one cent per word for the most popular writers. Sales were initially poor, and Henneberger soon decided to change the format from the standard size to large pulp
34.
Edwardian era
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The death of Queen Victoria in January 1901 marked the end of the Victorian era. The new king Edward VII was already the leader of an elite that set a style influenced by the art. The Liberals returned to power in 1906 and made significant reforms, below the upper class, the era was marked by significant shifts in politics among sections of society that had been largely excluded from wielding power in the past, such as common labourers. The Edwardian period is sometimes imagined as a golden age of long summer afternoons and garden parties. This perception was created in the 1920s and later by those who remembered the Edwardian age with nostalgia, the Edwardian age was also seen as a mediocre period of pleasure between the great achievements of the preceding Victorian age and the catastrophe of the following war. Recent assessments emphasise the differences between the wealthy and the poor during the Edwardian era and describe the age as heralding great changes in political and social life. Robert Tressells popular novel The Ragged-Trousered Philanthropists is an example of the eras social critique. Despite this, this type of perception has been challenged more recently by modern historians, the British historian Lawrence James has argued that, during the early 20th century, the British felt increasingly threatened by rival powers such as Germany, Russia, and the United States. There was a political awareness of the working class, leading to a rise in trade unions. The aristocracy remained in control of top government offices, the Conservatives – at the time called Unionists – were dominant from the 1890s to 1906. The party had many strengths, appealing to voters supportive of imperialism, tariffs, the Church of England, a powerful Royal Navy, and traditional hierarchical society. There was a powerful leadership base in the aristocracy and landed gentry in rural England, plus strong support from the Church of England. Historians have used election returns to demonstrate that Conservatives did surprisingly well in working-class districts and they had an appeal as well to the better-off element of traditional working class Britons in the larger cities. Nevertheless, the weaknesses were accumulating, and proved so overwhelming in 1906 that they did not return to power until 1922. The Conservative Party was losing its drive and enthusiasm, especially after the retirement of the charismatic Joseph Chamberlain, there was a bitter split on tariff reform, that drove many of the free traders over to the Liberal camp. Tariff reform was an issue that the Conservative leadership inexplicably clung to. Support among the top tier of the class, and in lower middle class weakened. The 1906 election was a landslide for the opposition, which saw its total vote jump 25 percent, the Liberal Party lacked a unified ideological base in 1906
35.
Cassell's Magazine
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It was acquired by the Amalgamated Press in 1927 and merged with Storyteller in 1932. In the 1890s, under Max Pembertons editorship, the magazine was based on the Strand Magazine, contributing authors included Wilkie Collins, whose 1870 novel Man and Wife raised the magazines circulation to 70,000. M. Barrie and P. G. Wodehouse, other contributors were E. W. Joseph Conrad contributed Il Conde to Cassells Magazine, which went on to become one of the most reproduced of all his stories. In January 1908 he instructed his agent, Please secure the number, in 1912, under Flowers editorship, Cassells became a pulp magazine, printed on wood pulp paper and aiming at a more populist type of fiction. This version of Cassells carried fiction by E. Phillips Oppenheim, an American edition of the magazine, dated one month later than the English, ran from January 1884 to December 1907
36.
Der Orchideengarten
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Der Orchideengarten was a German magazine that was published for 51 issues from January 1919 until November 1921. Founded four years before the American magazine Weird Tales was initiated in March 1923, also described as largely supernatural horror, it was edited by World War I correspondent and freelance writer Karl Hans Strobl and Alfons von Czibulka, published by Dreiländerverlag. It had 24 pages per issue printed on rough book paper, the magazine included a wide selection of new and reprinted stories by both German-language and foreign writers. German language writers for the magazine included Strobl, Hermann Harry Schmitz, Leo Perutz and Alexander Moritz Frey, the Worlds First Fantasy Magazine - Der Orchideengarten - covers, further info Hathi Trust, Der Orchideengarten - full-view scans of bound issues, years 1–3
37.
World War II
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World War II, also known as the Second World War, was a global war that lasted from 1939 to 1945, although related conflicts began earlier. It involved the vast majority of the worlds countries—including all of the great powers—eventually forming two opposing alliances, the Allies and the Axis. It was the most widespread war in history, and directly involved more than 100 million people from over 30 countries. Marked by mass deaths of civilians, including the Holocaust and the bombing of industrial and population centres. These made World War II the deadliest conflict in human history, from late 1939 to early 1941, in a series of campaigns and treaties, Germany conquered or controlled much of continental Europe, and formed the Axis alliance with Italy and Japan. Under the Molotov–Ribbentrop Pact of August 1939, Germany and the Soviet Union partitioned and annexed territories of their European neighbours, Poland, Finland, Romania and the Baltic states. In December 1941, Japan attacked the United States and European colonies in the Pacific Ocean, and quickly conquered much of the Western Pacific. The Axis advance halted in 1942 when Japan lost the critical Battle of Midway, near Hawaii, in 1944, the Western Allies invaded German-occupied France, while the Soviet Union regained all of its territorial losses and invaded Germany and its allies. During 1944 and 1945 the Japanese suffered major reverses in mainland Asia in South Central China and Burma, while the Allies crippled the Japanese Navy, thus ended the war in Asia, cementing the total victory of the Allies. World War II altered the political alignment and social structure of the world, the United Nations was established to foster international co-operation and prevent future conflicts. The victorious great powers—the United States, the Soviet Union, China, the United Kingdom, the Soviet Union and the United States emerged as rival superpowers, setting the stage for the Cold War, which lasted for the next 46 years. Meanwhile, the influence of European great powers waned, while the decolonisation of Asia, most countries whose industries had been damaged moved towards economic recovery. Political integration, especially in Europe, emerged as an effort to end pre-war enmities, the start of the war in Europe is generally held to be 1 September 1939, beginning with the German invasion of Poland, Britain and France declared war on Germany two days later. The dates for the beginning of war in the Pacific include the start of the Second Sino-Japanese War on 7 July 1937, or even the Japanese invasion of Manchuria on 19 September 1931. Others follow the British historian A. J. P. Taylor, who held that the Sino-Japanese War and war in Europe and its colonies occurred simultaneously and this article uses the conventional dating. Other starting dates sometimes used for World War II include the Italian invasion of Abyssinia on 3 October 1935. The British historian Antony Beevor views the beginning of World War II as the Battles of Khalkhin Gol fought between Japan and the forces of Mongolia and the Soviet Union from May to September 1939, the exact date of the wars end is also not universally agreed upon. It was generally accepted at the time that the war ended with the armistice of 14 August 1945, rather than the formal surrender of Japan
38.
Mystery fiction
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Mystery fiction is a genre of fiction usually involving a mysterious death or a crime to be solved. In a closed circle of suspects, each suspect must have a credible motive, the central character must be a detective who eventually solves the mystery by logical deduction from facts fairly presented to the reader. Mystery fiction can be detective stories in which the emphasis is on the puzzle or suspense element, Mystery fiction can be contrasted with hardboiled detective stories, which focus on action and gritty realism. Mystery fiction may involve a mystery where the solution does not have to be logical. This contrasted with parallel titles of the names which contained conventional hardboiled crime fiction. The first use of mystery in this sense was by Dime Mystery, the genre of mystery novels is a young form of literature that has developed over the past 200 years. The rise of literacy began in the years of the English Renaissance and, as began to read over time. As people became more individualistic in their thinking, they developed a respect for human reason, perhaps a reason that mystery fiction was unheard of before the 1800s was due in part to the lack of true police forces. Before the Industrial Revolution, many of the towns would have constables, naturally, the constable would be aware of every individual in the town, and crimes were either solved quickly or left unsolved entirely. As people began to crowd into cities, police forces became institutionalized and the need for detectives was realized – thus the mystery novel arose. An early work of mystery fiction, Das Fräulein von Scuderi by E. T. A. Hoffmann, was an influence on The Murders in the Rue Morgue by Edgar Allan Poe as may have been Voltaires Zadig. Wilkie Collins epistolary novel The Woman in White was published in 1860, in 1887 Arthur Conan Doyle introduced Sherlock Holmes, whose mysteries are said to have been singularly responsible for the huge popularity in this genre. The genre began to expand near the turn of century with the development of dime novels, books were especially helpful to the genre, with many authors writing in the genre in the 1920s. An important contribution to fiction in the 1920s was the development of the juvenile mystery by Edward Stratemeyer. Stratemeyer originally developed and wrote the Hardy Boys and Nancy Drew mysteries written under the Franklin W. Dixon, the massive popularity of pulp magazines in the 1930s and 1940s increased interest in mystery fiction. The detective fiction author Ellery Queen is also credited with continuing interest in mystery fiction, interest in mystery fiction continues to this day because of various television shows which have used mystery themes and the many juvenile and adult novels which continue to be published. There is some overlap with thriller or suspense novels and authors in those genres may consider themselves mystery novelists. Comic books and like graphic novels have carried on the tradition, Mystery fiction can be divided into numerous categories, including traditional mystery, legal thriller, medical thriller, cozy mystery, police procedural, and hardboiled
39.
Analog Science Fiction and Fact
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Analog Science Fiction and Fact is an American science-fiction magazine published under various titles since 1930. The first issue, titled Astounding Stories of Super-Science, was dated January 1930, published by William Clayton, Clayton went bankrupt in 1933 and the magazine was sold to Street & Smith. At the end of 1937, Campbell took over editorial duties under Tremaines supervision, the period beginning with Campbells editorship is often referred to as the Golden Age of Science Fiction. By 1950, new competition had appeared from Galaxy Science Fiction, in 1960, Campbell changed the title of the magazine to Analog Science Fiction & Fact, he had long wanted to get rid of the word Astounding in the title, which he felt was too sensational. At about the same time Street & Smith sold the magazine to Condé Nast, Campbell remained as editor until his death in 1971. Ben Bova took over from 1972 to 1978, and the character of the magazine changed noticeably, Bova won five consecutive Hugo Awards for his editing of Analog. The title was sold to Davis Publications in 1980, then to Dell Magazines in 1992, Crosstown Publications acquired Dell in 1996 and remains the publisher. Schmidt continued to edit the magazine until 2012, when he was replaced by Trevor Quachri, in 1926, Hugo Gernsback launched Amazing Stories, the first science-fiction magazine. Amazing was very successful, quickly reaching a circulation over 100,000, Clayton was unconvinced, but the following year decided to launch a new magazine, mainly because the sheet on which the color covers of his magazines were printed had a space for one more cover. He suggested to Harry Bates, a newly hired editor, that start a magazine of historical adventure stories. Bates proposed instead a science-fiction pulp, to be titled Astounding Stories of Super Science, Astounding was initially published by Publishers Fiscal Corporation, a subsidiary of Clayton Magazines. The first issue appeared in January 1930, with Bates as editor, Bates aimed for straightforward action-adventure stories, with scientific elements only present to provide minimal plausibility. In February 1931, the original name Astounding Stories of Super-Science was shortened to Astounding Stories, the magazine was profitable, but the Depression caused Clayton problems. Normally a publisher would pay a printer three months in arrears, but when a credit squeeze began in May 1931, it led to pressure to reduce this delay. The financial difficulties led Clayton to start alternating the publication of his magazines, some printers bought the magazines which were indebted to them, Clayton decided to buy his printer to prevent this from happening. As it turned out, enough stories were in inventory, and enough paper was available, to one further issue. In April, Clayton went bankrupt, and sold his titles to T. R. Foley for $100, Foley resold them in August to Street & Smith. Science fiction was not entirely a departure for Street & Smith, the first Street & Smith issue was dated October 1933, until the third issue, in December 1933, the editorial team was not named on the masthead
40.
Ellery Queen's Mystery Magazine
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Ellery Queens Mystery Magazine is an American monthly digest size fiction magazine specializing in crime fiction, particularly detective fiction, and mystery fiction. Launched in fall 1941 by Mercury Press, EQMM is named after the fictitious author Ellery Queen, Ellery Queen was the pseudonym of the team of Frederic Dannay and Manfred B. Lee, who had been writing under the name since 1929, EQMM was created to provide a market for mystery fiction above the common run of pulp crime magazines of the day. Dannay served as the magazines editor-in-chief from its creation until his death in 1982, following her death in 1991, Janet Hutchings became editor of EQMM. In Bloody Murder, Julian Symons offered this description of the publication, a compendium of every possible kind of crime story. Some of the kinds are more important than others, not all of the stories are masterpieces, yet the value of the magazine far transcends any criticisms that may be made of it. No doubt short stories would have written if EQMM had never existed, but they would have been much less various in style and interest. Because of its high standards, EQMM was one of a relative handful of fiction magazines to survive the decline in short-fiction publications from the 1950s to the 1970s. It is now the longest-running mystery fiction magazine in existence, unsolicited online submissions are now also accepted through an online submission manager as long as they follow the writers guidelines. The magazines Department of First Stories has introduced hundreds of new writers, EQMM regularly publishes short fiction from established mystery novelists such as Jeffery Deaver, Michael Gilbert, Peter Lovesey, John Lutz, Ruth Rendell, and Janwillem van de Wetering. Twice a year, former Jury Box columnist Jon Breen contributes a guest column, cover artists included George Salter, Nicholas Solovioff and Norman Saunders. In 2007-2008, EQMM republished covers from the age of mystery fiction. EQMM sponsors the annual Readers Choice Award, voted upon by readers, foremost among series authors was the late Edward D. Hoch, who created at least a dozen independent series for EQMM since his first story appeared in 1962. 1941-1981, Frederic Dannay 1982-1991, Eleanor Sullivan 1991-present, Janet Hutchings Ellery Queen Mystery Magazine is published by Dell Magazines, Penny Publications, the magazine shares offices with other Dell magazines, including Alfred Hitchcock Mystery Magazine. That publication is Ellery Queens Mystery Magazine, Ellery Queens Mystery Magazine official site Dells The Mystery Place
