Now ask that same group to name the greatest fantasy magazine, and the odds are that at least 19 will answer Unknown. It was that good, that unique, and remains that dominant in the minds of the readers.
How did it begin?
There are two versions.
The first is that John Campbell wanted to start a fantasy magazine, he convinced Street & Smith to publish it, he called it Unknown, and it ran 43 issues until the wartime paper shortage killed it off.
The other version, which has been repeated in dozens of venues, is that Campbell was sitting at his desk at Astounding, reading submissions, and he came to a novel, Sinister Barrier, by Eric Frank Russell. It was too good to turn down, but it didn’t fit into the format he had created for Astounding, and hence there was nothing to do but create a brand-new magazine, Unknown, which could run stories like Sinister Barrier and Fritz Leiber’s Gray Mouser stories, and Theodore Sturgeon’s “Yesterday Was Monday” and Robert A. Heinlein’s Magic, Inc., and that’s how Unknown came into being. A number of histories of the field have reported that this was the start of Unknown.
Which version is true?
The first one, of course—but the second one is so fascinating and evocative that I suspect it’ll never die, and if we all keep repeating it enough, why, in another 60 years or so, it’ll be History. (See my novel The Outpost to discover how these things work.)
Walter Who?
It all began with a radio show hosted by a mysterious male character known only as the Shadow. The show was owned by Street & Smith, the huge magazine publisher, and when it became increasingly obvious that the Shadow was far more popular than the show, they decided they’d better do something to copyright and trademark him before it was too late—so they decided to publish a one-shot pulp magazine about a crimefighter known as the Shadow.
To write the story, they hired magician and sometime pulp author Walter Gibson, and, for whatever initial reason, they decided to have him write it as “Maxwell Grant.”
The rest is history. That first issue of The Shadow sold out in record time. Street & Smith immediately ordered more novels from Gibson—who was getting $500.00 a novel, not bad pay in the depths of the depression—and in mere months The Shadow was selling more than a million copies an issue.
So Street & Smith decided the next step was to go semi-monthly. They called Gibson into their offices and asked if he was capable of turning out a Shadow novel every 15 days. Gibson said he could do it, but since it was no secret that The Shadow had, almost overnight, become the best-selling pulp magazine in America, he wanted a piece of this bonanza. He wasn’t going to be greedy or hold them up for some phenomenal sum. He’d write two novels a month, never miss a deadline, and keep the quality as high as it had been—but in exchange, he wanted a raise to $750.00 a novel.
His loving, doting publishers immediately metamorphosed into businessmen and said No.
Gibson thought he had them over a barrel. You give me $750.00 a novel, he said, or I’ll leave and take my audience with me.
Leave if you want, said Street & Smith, but next week there will be a new Maxwell Grant writing The Shadow for us, and who will know the difference?
It took Gibson ten seconds to realize that far from having Street & Smith over a barrel, they had him inside the barrel. He went back home and continued to write Shadow novels for $500.00 a shot.
This ploy worked so well that when Street & Smith began publishing Doc Savage, which was primarily written by Lester Dent, all the novels were credited to “Kenneth Robeson.”
Rivals saw the beauty in this—Street & Smith didn’t exactly have a monopoly on publishing’s notion of fair play and morality—and thus The Spider novels, written mostly by Norvell Page, bore the pseudonym of “Grant Stockbridge.”
“Kenneth Robeson,” Doc Savage’s author, was so popular that “he” also became the author of The Avenger pulp series.
And so on. Soon all the other “hero pulps”—pulps with a continuing hero and cast of characters, such as the above-mentioned—were written under house names, so that no author could either hold up the publishers for a living wage or leave and force the magazine to close down.
There was only one exception.
Edmond Hamilton wrote most of the 22 Captain Future novels under his own name.
The reason?
He was the only established science fiction writer working for Better Publications, Cap’s publisher, and his employers freely admitted that no one else in the house knew the first damned thing about writing that crazy Buck Rogers stuff.
The Mystery of Edson McCann
One day Horace Gold, the editor/publisher of Galaxy, got the notion of having a contest for the best novel by an unknown writer. He offered a prize of $7,000—more than the average American made in a year back then—and was immediately whelmed over by hundreds of booklength manuscripts, 99% of them dreadful and the other 1% even worse. (Ask anyone who has ever read a slush pile. This was nothing unusual or unexpected—at least, not by anyone except Horace.)
Horace had already bought Gravy Planet (later to become The Space Merchants, which eventually outsold, worldwide, just about every other science fiction novel ever written except perhaps for Dune.) When he couldn’t find an even mildly acceptable novel among the entries, he approached Fred Pohl and Cyril Kornbluth and said he’d like Gravy Planet to be the winner. The stipulation, though, was that it had to appear under a pseudonym, since the contest had to be won by an unknown.
Pohl and Kornbluth talked it over, decided they could get $7,000 from normal serial and book rights, and opted to keep their names on it, which disqualified it from the contest.
Now Gold was getting desperate. The deadline was almost upon him, and he still hadn’t found a single publishable novel among all the entries. So he turned to Pohl again.
Pohl and his Milford neighbor, Lester del Rey (a whole passel of science fiction writers lived in Milford, Pennsylvania back in the 1950s) had decided to collaborate on a novel about the future of the insurance industry, called Preferred Risk. Gold begged them to use a pseudonym and let it be the contest winner. Lester was less concerned with receiving credit for his work than Kornbluth was—or perhaps he was more concerned with a quick profit. At any rate, he agreed, and Pohl went along with him.
They divided up the pen name. Pohl chose “Edson” for a first name, and del Rey came up with “McCann”. They invented a whole life for him (for the magazine’s bio of the contest winner), in which he was a nuclear physicist working on such a top secret hush-hush project that Galaxy couldn’t divulge any of the details of his life.
And so it was that Preferred Risk, commissioned from two top professionals by Horace Gold, won the $7,000 prize for the Best Novel By An Unknown.
And why did they choose “Edson McCann”?
Well, if you break it down to its initials, it’s “E. McC”—or E equals MC squared.
The No-Budget Magazines
Hugo Gernsback is considered the Father of Science Fiction. That title is more than a little at odds with the facts, since Mary Shelley, Jules Verne and H.G. Wells were writing it long before Hugo came along—but Hugo named the field and was the first publisher to bring out a magazine devoted entirely to “scientifiction” (Amazing Stories in 1926).
Parenthetically, he also guaranteed that we would be inundated with bad science fiction for years to come…because by creating a market for science fiction, he gave it a place where it no longer had to compete with the best of the other categories. Science fiction writers no longer had to fight for spots in a magazine against Dashiell Hammett and James T. Cain and Frank Gruber and Max Brand; now they competed with Ray Cummings and Nat Schachner and Ross Rocklynne. The first—and for years only—science fiction magazine in the world was edited by Hugo Gernsback, an immigrant whose knowledge of the English language was minimal, and whose knowledge of story construction was nil. He felt science fiction’s sole purpose was to interest adolescent boys in becoming scientists, a
nd that was pretty much the way he edited.
The way he published was even worse. He liked to buy stories, but he hated to pay for them. Finally Donald A. Wollheim took him to court for the $10.00 he was owed. Neither Gernsback nor Wollheim ever forgot it.
Now move the clock ahead a few years, to about 1940. Wollheim had helped form the Futurians, that incredibly talented group of youngsters that would someday dominate the field. Among its members were Cyril Kornbluth, Damon Knight, Judith Merril, Frederik Pohl, Isaac Asimov, Robert A.W. Lowndes, James Blish, and Wollheim himself (and indeed, in a year or two they’d be editing just about every magazine in the field except for John Campbell’s Astounding).
Anyway, while Pohl edited Astonishing and Super Science on a pitifully small budget, Wollheim picked up two of his own to edit: Cosmos and Stirring Science. Their pages abounded in stories by Futurians Kornbluth, Pohl, Lowndes, and Knight, with illos by the finest Futurian artist, Hannes Bok. Those magazines put many of the Futurians on the map.
And do you know why Wollheim used Futurians almost exclusively?
Because his budget was Zero—not small, not minimal, but zero—and only his fellow Futurians would work for free for the man who once sued Hugo Gernsback for $10 that was owed on a story.
Horace Gold Goes Out to Play
Horace Gold returned home from World War II a disabled veteran…but his disability took a most peculiar form: agoraphobia. He was literally afraid to leave the comfort and security of his New York apartment.
It didn’t stop him from selling investors on the idea of Galaxy magazine. And it didn’t stop him from editing it, and turning it into (in my opinion) the only serious rival the Astounding of the late 1930s and early 1940s had for the title of Best Science Fiction Magazine of All Time.
He turned part of his apartment into an office. He worked at home, he ate at home, he slept at home, he wrote at home, he edited at home. Any writer who wanted a face-to-face with Horace visited him at home. He hosted a regular Friday night poker game that included his stable of writers: Bob Sheckley, Phil Klass (William Tenn), Fred Pohl, and Algis Budrys. Lester del Rey occasionally sat in, as did rival editor (of F&SF) Tony Boucher.
And because they were his friends, and they thought they were doing him a favor, this coterie of card-players and writers was constantly urging Horace to go outside, to breathe in the fresh air (well, Manhattan’s approximation of it, anyway), to just take a walk around the neighborhood so that he would know there were no secret dangers lurking beyond the doors of his apartment. They urged, and they cajoled, and they implored, and finally the big day came.
Horace Gold left his apartment for the first time in years—
—and was promptly hit by a taxi.
(There is a second version of this story, in which he actually spent a few evenings wandering around Manhattan, and then got into a crash while riding home in a taxi. Either way, the result was the same. He stopped eating, stopped editing, and was eventually institutionalized.)
Conclusion: the science fiction (and related) magazines have a long and fascinating history. My fondest hope is that if they talk about Galaxy’s Edge twenty or thirty years from now, it will only be to say that we ran some pretty good stories.
Okay, now you know a bit about the magazines. Next issue I’ll tell you about some of the writers and editors who make up this colorful field.
**********
Robert J. Sawyer is the winner of the Hugo, the Nebula, Canada’s Aurora, Spain’s UPC, and
Japan’s Seiun Sho Awards. His most recent novel is Red Planet Blues.
THE SHOULDERS OF GIANTS
by Robert J. Sawyer
It seemed like only yesterday when I’d died, but, of course, it was almost certainly centuries ago. I wish the computer would just tell me, dammitall, but it was doubtless waiting until its sensors said I was sufficiently stable and alert. The irony was that my pulse was surely racing out of concern, forestalling it speaking to me. If this was an emergency, it should inform me, and if it wasn’t, it should let me relax.
Finally, the machine did speak in its crisp, feminine voice. “Hello, Toby. Welcome back to the world of the living.”
“Where—” I’d thought I’d spoken the word, but no sound had come out. I tried again. “Where are we?”
“Exactly where we should be: decelerating toward Soror.”
I felt myself calming down. “How is Ling?”
“She’s reviving, as well.”
“The others?”
“All forty-eight cryogenics chambers are functioning properly,” said the computer. “Everybody is apparently fine.”
That was good to hear, but it wasn’t surprising. We had four extra cryochambers; if one of the occupied ones had failed, Ling and I would have been awoken earlier to transfer the person within it into a spare. “What’s the date?”
“16 June 3296.”
I’d expected an answer like that, but it still took me back a bit. Twelve hundred years had elapsed since the blood had been siphoned out of my body and oxygenated antifreeze had been pumped in to replace it. We’d spent the first of those years accelerating, and presumably the last one decelerating, and the rest—
—the rest was spent coasting at our maximum velocity, 3,000 km/s, one percent of the speed of light. My father had been from Glasgow; my mother, from Los Angeles. They had both enjoyed the quip that the difference between an American and a European was that to an American, a hundred years was a long time, and to a European, a hundred miles is a big journey.
But both would agree that twelve hundred years and 11.9 light-years were equally staggering values. And now, here we were, decelerating in toward Tau Ceti, the closest sunlike star to Earth that wasn’t part of a multiple-star system. Of course, because of that, this star had been frequently examined by Earth’s Search for Extraterrestrial Intelligence. But nothing had ever been detected; nary a peep.
I was feeling better minute by minute. My own blood, stored in bottles, had been returned to my body and was now coursing through my arteries, my veins, reanimating me.
We were going to make it.
Tau Ceti happened to be oriented with its north pole facing toward Sol; that meant that the technique developed late in the twentieth century to detect planetary systems based on subtle blueshifts and redshifts of a star tugged now closer, now farther away, was useless with it. Any wobble in Tau Ceti’s movements would be perpendicular, as seen from Earth, producing no Doppler effect. But eventually Earth-orbiting telescopes had been developed that were sensitive enough to detect the wobble visually, and—
It had been front-page news around the world: the first solar system seen by telescopes. Not inferred from stellar wobbles or spectral shifts, but actually seen. At least four planets could be made out orbiting Tau Ceti, and one of them—
There had been formulas for decades, first popularized in the RAND Corporation’s study Habitable Planets for Man. Every science-fiction writer and astrobiologist worth his or her salt had used them to determine the life zones—the distances from target stars at which planets with Earthlike surface temperatures might exist, a Goldilocks band, neither too hot nor too cold.
And the second of the four planets that could be seen around Tau Ceti was smack-dab in the middle of that star’s life zone. The planet was watched carefully for an entire year—one of its years, that is, a period of 193 Earth days. Two wonderful facts became apparent. First, the planet’s orbit was damn near circular—meaning it would likely have stable temperatures all the time; the gravitational influence of the fourth planet, a Jovian giant orbiting at a distance of half a billion kilometers from Tau Ceti, probably was responsible for that.
And, second, the planet varied in brightness substantially over the course of its twenty-nine-hour-and-seventeen-minute day. The reason was easy to deduce: most of one hemisphere was covered with land, which reflected back little of Tau Ceti’s yellow light, while the other hemisphere, with a much higher albedo, was likely covered b
y a vast ocean, no doubt, given the planet’s fortuitous orbital radius, of liquid water—an extraterrestrial Pacific.
Of course, at a distance of 11.9 light-years, it was quite possible that Tau Ceti had other planets, too small or too dark to be seen. And so referring to the Earthlike globe as Tau Ceti II would have been problematic; if an additional world or worlds were eventually found orbiting closer in, the system’s planetary numbering would end up as confusing as the scheme used to designate Saturn’s rings.
Clearly a name was called for, and Giancarlo DiMaio, the astronomer who had discovered the half-land, half-water world, gave it one: Soror, the Latin word for sister. And, indeed, Soror appeared, at least as far as could be told from Earth, to be a sister to humanity’s home world.
Soon we would know for sure just how perfect a sister it was. And speaking of sisters, well—okay, Ling Woo wasn’t my biological sister, but we’d worked together and trained together for four years before launch, and I’d come to think of her as a sister, despite the press constantly referring to us as the new Adam and Eve. Of course, we’d help to populate the new world, but not together; my wife, Helena, was one of the forty-eight others still frozen solid. Ling wasn’t involved yet with any of the other colonists, but, well, she was gorgeous and brilliant, and of the two dozen men in cryosleep, twenty-one were unattached.
Ling and I were co-captains of the Pioneer Spirit. Her cryocoffin was like mine, and unlike all the others: it was designed for repeated use. She and I could be revived multiple times during the voyage, to deal with emergencies. The rest of the crew, in coffins that had cost only $700,000 a piece instead of the six million each of ours was worth, could only be revived once, when our ship reached its final destination.
Galaxy's Edge Magazine: Issue 1 March 2013 Page 2