Read Ebook {PDF EPUB} 2000 A.D. Illustrations from the Golden Age of Science Fiction Pulps by Jacques Sadoul Early Science Fiction Pulp Magazines: Resources in Special Collections: Home. The roots of science fiction go back at least as far as Mary Shelley's novel Frankenstein , published in 1818. Many historians look back even farther. Science fiction pulps (at least, those in English) date back to 1926, when Hugo Gernsback started the magazin e Amazing Stories. Most science fiction pulps were published monthly or quarterly. They published short stories and novellas, not full-length novels. And, they were printed on very cheap paper -- hence the name. This resource guide covers our holdings of science fiction pulps from 1926 to 1957, including titles that started before 1957 and continued after. Why 1957? That's the year the Soviet Union successfully launched the Sputnik satellite, and the Space Age became a reality! Term paper ideas. The stories, the advertisements, and the cover illustrations for the pulps all offer material for analysis. In any genre, certain stories and authors tend to be reprinted frequently in anthologies, while others are forgotten. Who is forgotten, and why? The advertisements provide clues about what demographic the publishers and advertisers think is reading the magazine. Is it aimed at young readers, teens, adults? Male or female readers? What other interests or concerns are readers assumed to have? The cover illustrations are almost a genre of their own, and would be seen by many more people than read the actual stories - for example, customers at the newsstand who looked at the magazine but bought something else. Questions you can explore through the illustrations : How are women depicted in these illustrations? Is there a difference between women who seem to be Earth humans, and those who seem to be from alien worlds? How are people of color portrayed? How are men depicted? Is there a difference between those who seem to be Earth humans, and those who seem to be from alien worlds? What different ways are non-humanoid aliens depicted? Are they friendly or threatening? Are they portrayed as being intelligent or not, and how can you tell? Is there a difference between the way groups of aliens are portrayed compared to the way groups of humans are portrayed? Robots show up in many illustrations, as do humans with technology embedded in their bodies . Are they portrayed positively or negatively? What role in society do the illustrators imagine robots might have? What about the humans with embedded technology? Real-world concerns are frequently reflected in science fiction stories, and cover illustrations may hint at them too. You may see references to World War II from 1941 to 1945, or references to the Cold War in the years following. Can you find references to other national or international events? Comparing front cover and back cover illustrations. The front covers always illustrate a story in the magazine. During certain periods, the publishers of Amazing Stories and Fantastic Adventures commissioned art for the back cover instead of selling it as ad space. These pieces weren't tied to specific stories, probably because their use could be postponed if the magazine did need ad revenue that month. See these issues for back cover art: : May, September, and November 1939, plus nearly all issues from August 1942 to October 1945 : nearly all issues from August 1938 to July 1946, plus April-May 1953. More about science fiction illustrations. In the library catalog, search the subject heading science fiction -- illustrations . This link will retrieve books in the Main Library (books that can be checked out) and in Special Collections (books that must be used in the Special Collections reading room.) A few good starting places: 2000 A.D. : Illustrations from the Golden Age of Science Fiction Pulps. Jacques Sadoul; translated by Eileen B. Hennessy. Chicago: H. Regnery, 1975. Fantastic Science Fiction Art, 1926-1954. Lester del Ray, ed. New York: Ballantine, 1975. Vintage Treasures: Science Fiction of the 30’s edited by Damon Knight. Windy City Pulp and Paper is a fabulous convention and, as its name implies, it’s focused mostly on vintage magazines and paperbacks. Wandering the vast Dealer’s Room is like stepping into a Cave of Wonders for fans of pulp science fiction and fantasy. But it’s also a den of surprises and a pleasant one awaited me while browsing a table piled high with pulps and digest magazines. A hand-written sign proclaimed all items were “3 For $10,” so I decided to spend a few minutes exploring the heaped stacks. Buried under a loose pile of Science Fiction Quarterly magazines and Amazing Stories , I found a lone hardcover volume: Damon Knight’s pulp anthology Science Fiction of the 30’s , in much better shape than my tattered copy. Well, that was certainly worth $3.33. It didn’t take much effort to find two other worthy treasures (a July 1948 Fantastic Novel s pulp with a classic Lawrence cover and the January 1956 issue of The Original Science Fiction Stories with a James Blish cover story, which looked like it had just come off the magazine rack.) I plunked down my ten bucks and fled before the vendor changed his mind. Science Fiction of the 30’s was one of two great pulp anthologies I read over thirty years ago — the other being of course Isaac Asimov’s marvelous Before the Golden Age . Those books, together with Jacques Sadoul’s art book 2000 A.D. Illustrations From the Golden Age of Science Fiction Pulps , ignited a love of pulp fiction in me as a young teen that never died. Damon Knight was an early member of the Futurians and edited his first fanzine, Snide , when he was barely a teenager. He grew up reading SF magazines in the 30s and a collection of stories from the Golden Age of the science fiction pulps was something he’d wanted to do for decades… at least, until he abandoned the project as unworkable in the early 70s. Knight famously wrote a cranky essay about the disappearance of SF’s old guard, “Goodbye, Henry J. Kostkos, Goodbye” in 1972. Kostkos was an early (and now long-forgotten) pulp writer whose first story, “The Meteor-Men of Plaa,” appeared in the August-September 1933 issue of Amazing Stories . But then Asimov’s Before the Golden Age was published in April 1974 and was a major success. The English translation of Sadoul’s 2000 A.D. followed in 1975. Knight’s Science Fiction of the 30’s appeared the next year, in January 1976. I have no hard evidence that Asimov and Sadoul’s volumes directly inspired Knight to reevaluate his own dream project — no evidence besides the book’s Foreword that is, which reads as follows. In compiling this volume I have partially fulfilled an old ambition, one which I thought I had given up years ago — to reread all the old science fiction magazines I loved when I was young and write their critical history. I wrote about this in in essay called “Goodbye, Henry J. Kostkos, Goodbye” ( Clarion II , edited by Robin Scott Wilson), where I said the project was no longer possible because there was no audience for the old stories, and, in addition, because they were all junk. This was sour grapes. In fact, as you will see, many of the forgotten stories of the thirties are neglected gems. Only a few of these have been previously reprinted; most exist only in the original magazine versions in the hands of collectors and in libraries. Jacques Sadoul, who undertook my project when I announced I had given it up, remarks in Les Meilleurs Recits de Astounding Stories [Editions J’ai Lu, Paris, 1974] that only ninety percent of the stories are worthless and that this confirms to Sturgeon’s Rule (“Ninety percent of everything is crud.”) He is exactly right. I owe grateful appreciation to him, to Howard DeVore, who lent me hundreds of magazines from his immense collection, and to my editor, Barbara Norville. Knight was grateful enough that he dedicated the book to Jacques Sadoul. And the following quote appeared on the back cover: There isn’t a science fiction personality in the business as noted for his good judgement with respect to s.f. literature as Damon Knight. Any anthology he edits is bound to be good, and it is a pleasure to have him turn to the exciting decade of the 30s for one. Isaac Asimov. Science Fiction of the 30’s made quite an impact on me when I first read it. While it’s a very different book than Before the Golden Age , it’s still packed with top-notch tales of pulp adventure and it introduced me to several classic pulp writers. In fact, I’m pretty sure I read my first Murray Leinster story in Science Fiction of the 30’s: the novella “The Fifth-Dimension Catapult,” the first Tommy Reames adventure. Reames, a brilliant mathematician and physicist, responds to an odd summons to the home of Professor Dunham, where he finds the professor and his daughter marooned in the Fifth Dimension… a bizarre and potentially deadly landscape of unearthly flora and fauna. It originally appeared in Astounding Stories of Super-Science , January 1931. I liked the story so much that I reprinted it in Black Gate 9 , with the original artwork by Wesso. I had hoped to reprint the sequel, “The Fifth- Dimension Tube” (from the January 1933 issue of Astounding Stories of Super-Science ), but alas Black Gate didn’t live that long. The book contains 18 stories by such authors as John W. Campbell, Jr, David H. Keller, Manly Wade Wellman, Lester del Rey, Howard Wandrei, Frank Belknap Long, Harry Bates, Raymond Z. Gallun, Stanley G. Weinbaum, and L. Sprague de Camp. While they’re mostly short stories, in addition to “The Fifth-Dimension Catapult,” it also contains two additional novellas: William K. Sonnemann’s “The Council of Drones” and “Seeker of To-morrow” by Leslie J. Johnson and Eric Frank Russell. Knight delivers on his promise to write a critical history as well. He includes three non-fiction pieces bracketing the tales, focusing on the history of the magazines and their editors: The Early Years (1931-33) , The Middle Period (1934-36), and The End (1937-39). The book also includes a smattering of b&w reproductions of pulp covers, as well as the original art that accompanied the magazine appearance of each story. Science Fiction of the 30’s was reprinted by the Science Fiction Book Club simultaneously with its original release in January 1976. Both of my copies are the SFBC edition, and in fact those are the only ones I’ve ever seen. It was eventually reprinted in trade paperback by Avon in March 1977. It did well enough that Avon published two follow-up volumes: Science Fiction of the 40’s, edited by Joseph Olander, Martin Harry Greenberg, and Frederik Pohl (1978), and Science Fiction of the 50’s , edited by Martin Harry Greenberg and Joseph Olander (1979). There were no additional volumes, which always disappointed me. Here’s the complete table of contents: Foreword by Damon Knight “Out Around Rigel” by Robert H. Wilson ( Astounding Stories , December 1931) “The Fifth-Dimension Catapult” by Murray Leinster ( Astounding Stories of Super-Science , January 1931) “Into the Meteorite Orbit” by Frank K. Kelly ( Amazing Stories , December 1933) “The Battery of Hate” by John W. Campbell, Jr. ( Amazing Stories , November 1933) “The Wall” by Howard Wandrei ( Astounding Stories , May 1934) “The Lost Language” by David H. Keller, M.D. ( Amazing Stories , January 1934) “The Last Men” by Frank Belknap Long ( Astounding Stories , August 1934) “The Other” by Howard Wandrei ( Astounding Stories , December 1934) “The Mad Moon” by Stanley G. Weinbaum ( Astounding Stories , December 1935) “Davey Jones’ Ambassador” by Raymond Z. Gallun ( Astounding Stories , December 1935) “Alas, All Thinking!” by Harry Bates ( Astounding Stories , June 1935) “The Time Decelerator” by A. Macfadyen, Jr. ( Astounding Stories , July 1936) “The Council of Drones” by William K. Sonnemann ( Amazing Stories , October 1936) “Seeker of To-morrow” by Leslie J. Johnson and Eric Frank Russell ( Astounding Stories , July 1937) “Hyperpelosity” by L. Sprague de Camp ( Astounding Science- Fiction , April 1938) “Pithecanthropus Rejectus” by Manly Wade Wellman ( Astounding Stories , January 1938) “The Merman” by L. Sprague de Camp ( Astounding Science-Fiction , December 1938) “The Day Is Done” by Lester del Rey ( Astounding Science-Fiction , May 1939) Here’s the complete set of Avon paperbacks. So far I’ve covered the following treasures found at Windy City this year: Read all of our recent Vintage Treasure articles here. Science Fiction of the 30’s was edited by Damon Knight and published by Bobbs-Merrill Company in January, 1976. It is 465 pages, originally priced at $12.50 in hardcover, with a cover by Howard V. Brown. I bought my copy (a SFBC edition) for $3.33. The Original Bug-Eyed Monster: Astounding Stories , May 1931. Pulps are my weakness. I discovered them when I was just 12 years old, in Jacques Sadoul’s marvelous art book 2000 A.D. Illustrations From the Golden Age of Science Fiction Pulps (which I discussed back in May). That book sparked a lifetime interest in pulp magazines, where American science fiction was born. Of course, I was too young to have purchased or read any pulp magazines myself in 1976. Pulps died out in the 1950s, killed off by wartime paper shortages and changing economics. So I’ve relied on the collector’s market to supply me with magazines — an expensive proposition, especially if you’re a completist. Over the years, I’ve gotten more discriminating in my collecting. I dearly love Planet Stories , Weird Tales , Amazing Stories , Thrilling Wonder , Unknown , Air Wonder Stories , and many other pulps. But my favorite is Astounding Stories (later Astounding Science Fiction) , the magazine which — under legendary editor John W. Campbell — ushered in the so-called Golden Age of Science Fiction, discovering Robert A. Heinlein, A.E. van Vogt, Isaac Asimov, Theodore Sturgeon, and many, many others. Campbell became editor with the October 1937 issue and he quickly transformed the entire field. Curiously, the most expensive and in-demand issues of Astounding aren’t from Campbell’s reign, however. They’re from its first three years, 1930-1933, the period known as the Clayton Astounding , when it was owned by Clayton Magazines. That’s their symbol, the little blue pennant, in the top right of the cover at left. Very little fiction from the Clayton period is remembered today — and if you’ve never heard of the Clayton Astounding , you’re not missing much. The magazine’s early editors, like most of the American public, didn’t really understand science fiction and mostly filled the magazine with thinly disguised westerns in space and early space operas. But the covers… ah. They’re a very different story. All the covers of the Clayton Astounding were painted by one man: H. W. Wesso. Like Frank R. Paul, Wesso couldn’t paint a realistic human figure to save his life. But foreboding alien landscapes, rocket ships, and giant monsters? Wesso was your guy. When I saw my first Wesso covers in 2000 A.D. — including the August 1930 issue, right, with that strange slithery alien coming upon the explorers in the tunnel, and the May 1932 issue, above, with a gigantic space monster moving menacingly towards three humans, one of whom is caught in a web — I was instantly captivated. (Click on the images for bigger versions). These were the stories I wanted to read when I was twelve, dang it. Science fiction with weird alien planets, daring explorers, and monsters. In fact, forget all that other stuff, and just give me the monsters. After 38 years of collecting, I have very nearly a complete collection of Astounding and the magazine it changed into, Analog Science Fiction & Fact. Over eight decades of science fiction, through many ups and downs. To know Astounding is, in a very real way, to know the history of science fiction. One that escaped me until recently was the May 1931 issue. There’s nothing special about the contents, and I have no doubt that the reason it’s much in demand is Wesso’s delightful cover. By the 1950s, more serious magazines like Galaxy were attracting fresh readers, partly by deriding the reputation of early SF, particularly the Bat Durston space western and the “bug-eyed monsters” of early pulp SF. Pretty soon “bug-eyed monster” became a catch-all phrase for the mindless, ugly aliens who inhabited the pages of moldering pulp magazines, attempting to devour men and steal our women. I can’t prove it, but Wesso’s monster on the cover of the May 1931 Astounding must surely be the mother of all Bug-Eyed Monsters, perhaps the very first. It’s certainly the one I think of whenever I hear the phrase. If it hadn’t been for this cover, I don’t think the phrase “bug-eyed monster” would have entered our lexicon at all. And I don’t think it’s ugly at all. You’re beautiful, you giant alien beast, and don’t let anyone tell you different. I hope you eat that reckless space explorer, and his little blue buddy too. Hundreds of pulp collectors clearly agree with me, since it took me a long time to track down a copy of this issue. But I finally managed it, buying a nice copy on eBay last week for $11.50. Here’s the complete Table of Contents, with links to the stories at Project Gutenberg. Dark Moon by Charles W. Diffin Mysterious, Dark, Out of the Unknown Deep Comes a New Satellite to Lure Three Courageous Earthlings on to Strange Adventure. ( A Complete Novelette. ) When Caverns Yawned by Captain S. P. Meek Only Dr. Bird’s Super-Scientific Sleuthing Stands in the Way of Ivan Sarnoff’s Latest Attempt at Wholesale Destruction. The Exile of Time, by Ray Cummings Young Lovers of Three Eras Are Swept down the Torrent of the Sinister Cripple Tugh’s Frightful Vengeance. (Part Two of a Four-Part Novel.) When the Moon Turned Green by Hal K. Wells Outside His Laboratory Bruce Dixon Finds a World of Living Dead Men—and Above, in the Sky, Shines a Weird Green Moon. The Death-Cloud by Nat Schachner and Arthur Leo Zagat The Epic Exploit of One Who Worked in the Dark and Alone, Behind the Enemy Lines, in the Great Last War. The Readers’ Corner by All of Us A Meeting Place for Readers of Astounding Stories. Melvil Decimal System: 741.65. Wording: Arts and Recreation > Drawing and decorative arts > Drawing & drawings > Graphic design, illustration, commercil art > Illustration for magazines.

Dewmoji: > ✏ > > ? > ? Works under MDS 741.65. by Robert Lesser by Laurence S. Cutler by Frank M. Robinson by William Packer by Teal Triggs by Hugo Gernsback by Jean F. Blashfield by Frank Jacobs by Francoise Mouly by Daniel Tatarsky by Virgil Finlay by Peter Haining by Brian Aldiss by Frederick Voss by Frank M. Robinson by Stephen D. Korshak by Mark Mothersbaugh by Peter Haining by los bros hernandez by The Onion by Jim Harter by Douglas Ellis by Jan Cohn by Stephen D. Korshak by Jacques Sadoul. Wording. "Far Friends" MDS classes with significant recommendations overlap, excluding ones under the same top-level class. Related tags. What is MDS? Melvil stands for "Melvil Decimal System," named after Melvil Dewey, the famous librarian. Melvil Dewey invented his Dewey Decimal System in 1876, and early versions of his system are in the public domain. More recent editions of his system are in copyright, and the name "Dewey," "Dewey Decimal," "Dewey Decimal Classification" and "DDC" are registered trademarked by OCLC, who publish periodic revisions. LibraryThing's MDS system is based on the classification work of libraries around the world, whose assignments are not copyrightable. MDS "scheduldes" (the words that describe the numbers) are user-added, and based on public domain editions of the system. The Melvil Decimal System is NOT the Dewey Decimal System of today. Wordings, which are entered by members, can only come from public domain sources. The base system is the Free Decimal System, a public domain classification created by John Mark Ockerbloom. Where useful or necessary, wording comes from the 1922 edition of the Dewey Decimal System. Language and concepts may be changed to fit modern tastes, or to better describe books cataloged. Wordings may not come from in-copyright sources.