Analog Science Fiction and Fact is an American science fiction magazine. As of 2011, it is the longest running continuously published magazine of that genre. Initially published in 1930 in the United States as Astounding Stories as a pulp magazine, it has undergone several name changes, primarily to Astounding Science-Fiction in 1938, and Analog Science Fact & Fiction in 1960. In November 1992, its logo changed to use the term 'Fiction and Fact' rather than 'Fact & Fiction'. It is in the library of the International Space Station. Spanning three incarnations since 1930, this is perhaps the most influential magazine in the history of the genre. It remains a fixture of the genre today. As Astounding Science-Fiction, a new direction for both the magazine and the genre under editor John W. Campbell was established. His editorship influenced the careers of Isaac Asimov and Robert Heinlein, and also introduced the dianetic theories of L. Ron Hubbard in May 1950.[1]
Analog frequently publishes new authors, including then-newcomers such as Orson Scott Card and Joe Haldeman in the 1970s, Harry Turtledove, Timothy Zahn, Greg Bear, and Joseph H. Delaney in the 1980s, and Paul Levinson, Michael A. Burstein, and Rajnar Vajra in the 1990s.
One of the major publications of what fans and historians call the Golden Age of Science Fiction and afterward, it has published much-reprinted work by such major SF authors as E.E. Smith, Theodore Sturgeon, Isaac Asimov, Robert A. Heinlein, A. E. van Vogt, Lester del Rey, HP Lovecraft and many others.
Contents
1 Publishing history
1.1 Clayton
1.2 Street & Smith
1.3 Second World War
1.4 Condé Nast
1.5 Davis Publications, Dell Magazines, and Penny Publications
2 Contents and reception
2.1 Bates
2.2 Tremaine
2.3 Campbell
2.3.1 Golden Age
2.3.2 Post-war years
2.3.3 1950s
2.4 Reputation
3 Bibliographic details
3.1 Birth of Analog
3.2 British reprint editions (1939-1963)
3.3 Editors
3.4 Timeline of name changes
3.5 Notable authors published in Analog
4 References
5 Notes
6 Footnotes
7 External links
7.1 Public domain texts
Publishing history
Clayton
In 1926, Hugo Gernsback launched Amazing Stories, the first science fiction magazine. Gernsback had been printing scientific fiction stories for some time in his hobbyist magazines, such as Modern Electrics and Electrical Experimenter, but decided that there was enough interest in the genre to justify a monthly magazine. Amazing was very successful, quickly reaching a circulation of over 100,000.[2]
William Clayton, a successful and well-respected publisher of several pulp titles, considered starting a competitive title in 1928: according to Harold Hersey, one of his editors at the time, Hersey had 'discussed plans with Clayton to launch a pseudo-science fantasy sheet'.[3] Clayton was unconvinced.
The following year, however, Clayton 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 they start a magazine of period adventure stories. Bates proposed instead a science fiction pulp, to be titled Astounding Stories of Super Science, and Clayton agreed.[4][5]
Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec
1930 1/1 1/2 1/3 2/1 2/2 2/3 3/1 3/2 3/3 4/1 4/2 4/3
1931 5/1 5/2 5/3 6/1 6/2 6/3 7/1 7/2 7/3 8/1 8/2 8/3
1932 9/1 9/2 9/3 10/1 10/2 10/3 11/1 11/2
1933 11/3 12/1 12/2 12/3 12/4
1934 12/5 12/6 13/1 13/2 13/3 13/4 13/5 13/6 14/1 14/2 14/3 14/4
1935 14/5 14/6 15/1 15/2 15/3 15/4 15/5 15/6 16/1 16/2 16/3 16/4
1936 16/5 16/6 17/1 17/2 17/3 17/4 17/5 17/6 18/1 18/2 18/3 18/4
1937 18/5 18/6 19/1 19/2 19/3 19/4 19/5 19/6 20/1 20/2 20/3 20/4
1938 20/5 20/6 21/1 21/2 21/3 21/4 21/5 21/6 22/1 22/2 22/3 22/4
1939 22/5 22/6 23/1 23/2 23/3 23/4 23/5 23/6 24/1 24/2 24/3 24/4
Issues of Astounding Stories, showing volume/issue number. The colors
identify the editors for each issue:[6]
Harry Bates F. Orlin Tremaine John W. Campbell
Astounding was initially published by Publisher's Fiscal Corporation, which became Clayton Magazines in March 1931.[5][7][8] 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. Clayton paid much better rates than Amazing and Wonder Stories—two cents a word on acceptance, rather than half a cent a word, on publication (or sometimes later)—and consequently Astounding attracted some of the better-known pulp writers, such as Murray Leinster, Victor Rousseau, and Jack Williamson.[4][5] In February 1931, the original name Astounding Stories of Super-Science was shortened to Astounding Stories.[9]
The magazine was profitable,[9] 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, and he switched Astounding to a bimonthly schedule with the June 1932 issue.
Some printers bought the magazines which were indebted to them: Clayton decided to buy his printer to prevent this from happening. This proved a disastrous move. Clayton did not have the money to complete the transaction, and in October 1932 Clayton decided to cease publication of Astounding, with the expectation that the January 1933 issue would be the last one.
As it turned out, there were enough stories in inventory, and enough paper, to publish one further issue, so the last Clayton Astounding was dated March 1933.[10] In April Clayton went bankrupt, and sold his magazine titles; the buyer quickly resold the titles to Street & Smith, a well-established publisher.[11]
Street & Smith
Science fiction was not an entirely new departure for Street & Smith. They already possessed two pulp titles that occasionally ventured into the field: The Shadow, which had begun in 1931 and was tremendously successful, with a circulation over 300,000; and Doc Savage, which had been launched in March 1933.[12] They gave the post of editor of Astounding to F. Orlin Tremaine, an experienced editor who had been working for Clayton as the editor of Clues, and who had come to Street & Smith as part of the transfer of titles after Clayton's bankruptcy. Desmond Hall, who had also come from Clayton, was made assistant editor; because Tremaine was editor of Clue and Top-Notch, as well as Astounding, Hall did a lot of the editorial work, though Tremaine retained final control over the contents.[13]
The first Street & Smith issue was dated October 1933; it was not until the third issue, in December 1933, that the editorial team was named on the masthead.[13] Street & Smith had an excellent distribution network, and they were able to get Astounding's circulation up to an estimated 50,000 by the middle of 1934.[14] The two main rival science fiction magazines of the day, Wonder Stories and Amazing Stories, each had a circulation of about half that. Astounding was the leading science fiction magazine by the end of 1934; and it was also the largest, at 160 pages, and the cheapest, at 20 cents. Street & Smith's rates of one cent per word (sometimes more) on acceptance were not as good as the rates paid by Bates for the Clayton Astounding, but they were still better than those of the other magazines.[15]
Hall left Astounding in 1934 to become editor of Street & Smith's new slick magazine, Mademoiselle, and was replaced by R.V. Happel. Tremaine remained in control of story selection.[16] Writer Frank Gruber described Tremaine's editorial selection process in his book, The Pulp Jungle:[17]
As the stories came in Tremaine piled them up on a stack. All the stories intended for Clues in this pile, all those for Astounding in that stack. Two days before press time of each magazine, Tremaine would start reading. He would start at the top of the pile and read stories until he had found enough to fill the issue. Now, to be perfectly fair, Tremaine would take the stack of remaining stories and turn it upside down, so next month he would start with the stories that had been on the bottom this month.
Gruber pointed out that stories in the middle might go many months before Tremaine read them; the result was erratic response times which sometimes stretched to over eighteen months.[18]
Tremaine was promoted to assistant editorial director in 1937. His replacement as editor of Astounding (though not of Clues) was John W. Campbell, Jr.. Campbell had made his name in the early 1930s as a writer, publishing space opera under his own name, and more thoughtful stories under the pseudonym 'Don A. Stuart'. He started working for Street & Smith in October 1937, so his first editorial influence appeared in the issue dated December 1937. The March 1938 issue was the first that was fully his responsibility.[19][20] In early 1938, Street & Smith abandoned its policy of having editors-in-chief, with the result that Tremaine was made redundant. He left on May 1, 1938, reducing Street & Smith's oversight of Campbell and giving him a freer rein.[21]
One of Campbell's first acts was to change the title from Astounding Stories to Astounding Science-Fiction with the March 1938 issue. Campbell's editorial policy was targeted at the more mature readers of science fiction, and he felt that 'Astounding Stories' did not convey the right image.[21] He intended to subsequently drop the 'Astounding' part of the title as well, leaving the magazine titled Science Fiction, but in 1939 a new magazine with that title appeared. 'Astounding' was retained, though thereafter it was often printed in a color that made it much less visible than the 'Science-Fiction' part of the title.[5] At the start of 1942 the price was increased, for the first time, to 25 cents; the magazine simultaneously switched to the larger bedsheet format, but this did not last. Astounding returned to pulp-size in mid-1943 for six issues, and then became the first science fiction magazine to switch to digest size in November 1943, increasing the number of pages to maintain the same total wordcount. The price remained at 25 cents through these changes in format.[7][22]
The price increased again, to 35 cents, in August 1951.[7] In the late 1950s it became apparent to Street & Smith that they were going to have to raise prices again. During 1959, Astounding was priced at 50 cents in some areas to find out what the impact would be on circulation. The results were apparently satisfactory, and the price was raised with the November 1959 issue.[23] The following year Campbell finally achieved his goal of getting rid of the word 'Astounding' in the magazine's title, changing it to Analog Science Fact/Science Fiction. The change began with the February 1960 issue, and was complete by October; for several issues both 'Analog' and 'Astounding' could be seen on the cover, with 'Analog' becoming bolder and 'Astounding' fading with each issue.[5][24]
Second World War
The outbreak of the Second World War had the effect of cutting Astounding off from the British market. As told by Arthur C. Clarke, 'owing to the war, regular supplies of Astounding Stories had been cut off by the British authorities, who foolishly imagined that there were better uses for shipping space and hard-earned dollars'. Luckily for Clarke, his friend Willy Ley loyally sent him every issue 'before withdrawal symptoms set in'; but many other British SF fans had to wait until 1945 before they could again read Astounding.[25]
Condé Nast
Condé Nast Publications bought Street & Smith in August 1959,[26] though the change was not reflected in Analog's masthead until February 1962.[5] Analog was the only digest-sized magazine in Condé Nast's inventory—all the others were slicks, such as Vogue and Vanity Fair. All the advertisers in these magazines had plates made up to take advantage of this size, and Condé Nast changed Analog to the larger size from the March 1963 issue in order to conform. The front and back signatures were changed to glossy paper, to carry both advertisements and scientific features. The change did not attract advertising support, however, and from the April 1965 issue Analog reverted to digest size once again. Circulation, which had been increasing before the change, was not harmed, and continued to increase while Analog was in slick format.[27]
Campbell died suddenly in July 1971, but there was enough material in Analog's inventory to allow the remaining staff to put together issues for the rest of the year.[28] Condé Nast had given the magazine very little attention, since it was both profitable and cheap to produce, but they were proud that it was the leading sf magazine. They asked Kay Tarrant, who had been Campbell's assistant, to help them find a replacement: she contacted several regular contributors to ask for suggestions. Several well-known writers turned down the job for various reasons: Poul Anderson did not want to leave California; neither did Jerry Pournelle, who also felt the salary was too small. Harry Harrison had discussed taking over with Campbell before Campbell's death, but did not want to live in New York. Frederik Pohl, Lester del Rey and Clifford Simak were also rumored to have been offered the job, though Simak denied it.[29]
The Condé Nast vice president in charge of selecting the new editor decided to read both fiction and non-fiction writing samples from the applicants, since Analog's title included both 'science fiction' and 'science fact'. He chose Ben Bova, afterwards telling Bova that his stories and articles 'were the only ones I could understand'.[29] January 1972 was the first issue to credit Bova on the masthead.[7]
Bova planned to stay for five years, to ensure a smooth transition after Campbell's sudden death; the salary was too low for him to consider remaining indefinitely. In 1975 he proposed a new magazine to Condé Nast management, to be titled Tomorrow Magazine; he wanted to publish articles about science and technology, leavened with some science fiction stories. Condé Nast were uninterested in the idea; and refused to assist Analog with marketing or promotions. Bova resigned in June 1978, having stayed for a little longer than he had planned, and recommended Stanley Schmidt to succeed him. Schmidt's first issue was December 1978, though material purchased by Bova continued to appear for several months.[30]
Bova won the Hugo Award for Best Professional Editor for 5 consecutive years, 1973 through 1978. (The award did not exist before 1973.)
Davis Publications, Dell Magazines, and Penny Publications
In 1980 Condé Nast sold Analog to Davis Publications. Analog had always been something of a misfit in Condé Nast's line up, which contained titles such as Mademoiselle and Vogue, and Davis was willing to put some effort into marketing Analog, so Schmidt regarded the change as likely to be beneficial.[30]
Circulation dropped during the 1970s and 1980s, as newsstand sales fell away while subscriptions did not grow enough to compensate.
In 1980 the overall circulation of 104,000 included 45,000 newsstand sales.
In 1983 the overall circulation reached a peak of 115,000 per month.
In 1981, Analog's schedule was changed to publication every four weeks, rather than monthly, so that there were thirteen issues a year, rather than twelve.
In 1992 Davis Publications sold the magazine to Dell Magazines, who continue to publish it to this day. Dell Magazines was in turn acquired by Penny Publications with headquarters in Norwalk, Connecticut, US.
In 1990 the overall circulation of 83,000 included only 15,000 sales from newsstands.[5]
In 1996 Analog returned to a monthly schedule, and the following year reduced the schedule again, to eleven issues, combining July and August into a single issue. Starting in 2004, the number of issues was cut again, to ten, with January and February also being combined into one issue.[7]
As of 2011, editor Schmidt has been nominated for the Hugo Award for Best Professional Editor for 26 consecutive years, 1980 through 2006, without winning. Through his tenure, Analog has been the best-selling English-language SF magazine in the world.[citation needed]
Each year, Analog conducts a readers' poll—called the Analytical Laboratory, or AnLab—to determine the favorite stories, articles and cover art published in the magazine in the previous year. Many recipients of the AnLab Award have gone on to receive[citation needed] the Hugo Award.
Analog's circulation has fallen from a high of about 115,000 per month in 1983 to 26,493 in 2011. However, circulation has grown over the last two years due in part to increased digital sales.[31]
Analog's editor Stanley Schmidt announced that Analog began 'preferring' accepting submissions in electronic form via a website[32] '[e]ffective at 11 a.m. Eastern Standard Time on Tuesday, February 22', 2011, and indicated that full instructions were available at that url, but that 'attachments to regular e-mail' would not be accepted, Analog thus increasing its bidirectional use of online rather than hardcopy print media such as self-addressed stamped envelopes (SASE) in communications between Analog, its writers and other contributors, business partners and readers.[33]
Contents and reception
Bates
The first incarnation of Astounding was an adventure-oriented magazine, with no interest in education through science. The covers were all painted by Wesso and similarly action-filled; the first issue showed a giant beetle attacking a man. The quality of the fiction was very low, and Bates would not accept any experimental stories, relying mostly on formulaic plots. In the eyes of Mike Ashley, a science fiction historian, Bates was 'destroying the ideals of science fiction'.[34] One historically important story that almost appeared in Astounding was E.E. Smith's Triplanetary, which Bates would have published had Astounding not folded in early 1933. However, the cover Wesso had painted for the story appeared on the March 1933 issue, the last to be published by Clayton.[35]
Tremaine
When Street & Smith acquired Astounding, they also planned to relaunch another Clayton pulp, Strange Tales, and acquired material for it before deciding not to proceed. These stories appeared in the first Street & Smith Astounding, dated October 1933.[11] This issue and the next were unremarkable in quality, but with the December issue Tremaine published a statement of editorial policy, calling for 'thought variant' stories which contained original ideas and did not simply reproduce adventure themes in an sf context. The policy was probably worked out between Tremain and Desmond Hall, his assistant editor, in an attempt to give Astounding a clear identity in the market that would distinguish it from both the existing science fiction magazines and the hero pulps, such as The Shadow, that frequently used sf ideas.[36]
Early 'thought variant' stories were not always very original or well executed. Ashley describes the first, Nat Schachner's 'Ancestral Voices', as 'not amongst Schachner's best'; the second, 'Colossus', by Donald Wandrei, was not a new idea, but was energetically written. Over the succeeding issues it became apparent that Tremaine was genuinely willing to publish material that would have fallen foul of editorial taboos elsewhere. He serialized Charles Fort's Lo!, a non-fiction work about strange and inexplicable phenomena, in eight parts between April and November 1934, in an attempt to stimulate new ideas for stories. In fiction, 1934 was a banner year for the magazine: the best remembered story of the year is probably Jack Williamson's The Legion of Space, which began serialization in April, but other notable stories include Murray Leinster's 'Sidewise in Time', which was the first sf story to use the idea of alternate history; 'The Bright Illusion', by C.L. Moore, and 'Twilight', by John W. Campbell, writing as 'Don A. Stuart'. 'Twilight', which was written in a more literary and poetic style than Campbell's earlier space opera stories, was particularly influential, and Tremaine encouraged other writers to produce similar stories. One such was Raymond Z. Gallun's 'Old Faithful', which appeared in the December 1934 issue and was sufficiently popular that Gallun wrote a sequel, 'Son of Old Faithful', published the following July.[36]
Astounding's readership was more knowledgeable and more mature than the readers of the other magazines, and this was reflected in the cover artwork, by Howard V. Brown, which was less garish than at Wonder Stories or Amazing Stories. The interior artwork, particularly by Elliot Dold, was also very impressive.[36]
By the end of 1935, Astounding was the clear leader of the science fiction magazine field.[36] Tremaine's policy of printing material that he liked without staying too strictly within the bounds of the genre led him to serialize H.P. Lovecraft's novel At the Mountains of Madness in early 1936. He followed this with Lovecraft's 'The Shadow Out of Time' in June 1936, though there were 'protests from sf purists'. Generally, however, Tremaine was unable to maintain the high standard he had set in the first couple of years, perhaps because his workload was high. Tremaine's slow responses to submissions discouraged new authors, although he could rely on regular contributors such as Jack Williamson, Murray Leinster, Raymond Gallun, Nat Schachner, and Frank Belknap Long. New writers who did appear during the latter half of Tremaine's tenure included Ross Rocklynne, Nelson S. Bond, and L. Sprague de Camp, whose first appearance was in September 1937 with 'The Isolinguals'.[37]
Campbell
Campbell was hired by Street & Smith in October 1937, and although he did not gain full editorial control of Astounding until the May 1938 issue, he was able to introduce some new features before then. In January 1938 he began to include a short description of stories in the next issue, titled 'In Times To Come'; and in March he began 'The Analytical Laboratory', which calculated average votes from readers and ranked the stories in order. The payment rate at the time was one cent a word, and Street & Smith agreed to let Campbell pay a bonus of an extra quarter cent a word to the writer whose story was voted top of the list.[37]
Campbell changed the approach to the magazine's cover art, hoping that more mature artwork would attract more adult readers and enable them to carry the magazine without embarrassment. Howard V. Brown had done almost every cover for the Street & Smith version of Astounding, and Campbell asked him to do an astronomically accurate picture of the Sun as seen from Mercury for the February 1938 issue. He also introduced Charles Schneeman as a cover artist, starting with the May 1938 issue, and Hubert Rogers, whose first cover was for the February 1939 issue, and who quickly became a regular, painting all but four of the covers between September 1939 and August 1942.[37]
Tremaine had printed some non-fiction articles during his tenure, with Campbell himself providing an 18-part series on the solar system between June 1936 and December 1937. Campbell instituted regular non-fiction pieces, with the goal of stimulating story ideas. The main contributors of these were R.S. Richardson, L. Sprague de Camp, and Willy Ley.[37]
Golden Age
The period from 1938 to 1946[citation needed] is usually referred to as the 'Golden Age' of science fiction, because of the immense influence Campbell's editorship had on the genre. Within less than two years of the start of his editorship he had published stories by many of the writers who would become central figures in science fiction: both existing writers, such as L. Ron Hubbard, Clifford Simak, Jack Williamson, L. Sprague de Camp, Henry Kuttner, and C.L. Moore, who became regulars in either Astounding or its sister magazine, Unknown; and new writers who published some of their first stories in Astounding such as Lester del Rey, Theodore Sturgeon, Isaac Asimov, A.E. van Vogt and Robert Heinlein.[38]
Campbell wanted his writers to provide action and excitement, but he also wanted the stories to appeal to a readership that had matured over the first decade of the science fiction genre. He asked his writers to write stories that felt as though they could have been published as non-sf stories in a magazine of the future; a reader of the future would not need long explanations for the gadgets in their lives, and so Campbell asked his writers to find ways of naturally introducing technology to their stories.[37]
The April 1938 issue saw both the first story by del Rey, 'The Faithful', and de Camp's second sale, 'Hyperpilosity'.[37] Jack Williamson's Legion of Time, described by author and editor Lin Carter as 'possibly the greatest single adventure story in science fiction history',[39] began serialization in the following issue. De Camp contributed a non-fiction article, 'Language for Time Travelers', in the July issue, which also contained Hubbard's first science fiction sale, 'The Dangerous Dimension': Hubbard had been selling genre fiction to the pulps for several years by that time. The same issue contained Clifford Simak's 'Rule 18'; Simak had more or less abandoned science fiction within a year after breaking into the field in 1931, but he was drawn back by Campbell's editorial approach. The following issue featured one of Campbell's best known stories, 'Who Goes There?', and included Kuttner's 'The Disinherited'; Kuttner had been selling successfully to the other pulps for a couple of years, but this was his first story in Astounding. In October de Camp began a popular series about an intelligent bear named Johnny Black.[37]
The market for science fiction expanded dramatically in the following year, with several new magazines launched, including Startling Stories in January 1939, Unknown in March (a fantasy companion to Astounding, also edited by Campbell), Fantastic Adventures in May, and Planet Stories in December. All of the competing magazines, including the two main pre-existing titles, Wonder Stories and Amazing Stories, were publishing space opera, stories of interplanetary adventure, or other well-worn ideas from the early days of the genre. Campbell's attempts to make science fiction more mature led to a natural division of the writers: those who were unable to write to his standards continued to sell to other magazines; while those who could sell to Campbell quickly focused their attention on Astounding and sold relatively little to the other magazines. The expansion of the market was also a benefit to Campbell because writers knew that if their submissions to Campbell were rejected they could resubmit those stories elsewhere; this freed them to try to write to his standards.[40]
During 1939 Campbell's stable of writers was augmented by several new names who sold their first story to him that year. In July, the lead story was 'Black Destroyer', the first story by van Vogt; the same issue also contained Asimov's 'Trends', which was his first sale to Campbell, but only Asimov's second story to see print, though Asimov quickly became a regular in Astounding. The following month saw Heinlein's 'Lifeline', and in September Campbell printed Sturgeon's 'Ether Breather'; both of these were first sales.[40] Because of the sudden appearance of these four major sf authors in the space of only three months, the July 1939 issue is sometimes regarded as inaugurating the golden age of science fiction, though this is not universally accepted.[37] One of the most popular established authors of space opera, E.E. Smith, reappeared in October, with the first installment of Gray Lensman. This was a sequel to Galactic Patrol, which had appeared in Astounding two years previously.[40]
Heinlein rapidly became one of the most prolific contributors to Astounding, with three novels published in the next two years: If This Goes On—, Sixth Column, and Methuselah's Children, and half a dozen short stories. In September 1940 van Vogt's first novel, Slan, began serialization; the book was partly inspired by a challenge Campbell laid down to van Vogt that it was impossible to tell a superman story from the point of view of the superman. It proved to be one of the most popular stories Campbell published, and is an example of the way Campbell worked with his writers to feed them ideas and generate the material he wanted to buy. Isaac Asimov's 'Robot' series began to take shape in 1941, with 'Reason' and 'Liar!' appearing in the April and May issues; as with 'Slan', these stories were partly inspired by conversations with Campbell.[40] The September 1941 issue included Asimov's short story 'Nightfall', probably the most famous U.S. science fiction story ever written,[41] and in November, Second Stage Lensman, the next novel in Smith's 'Lensman' series, began serialization.[40]
The following year saw the beginning of Asimov's 'Foundation' stories, with 'Foundation' appearing in May and 'Bridle and Saddle' in June.[40] Van Vogt's 'Recruiting Station', in the March issue, was the first story in his 'Weapon Shop' series, described by critic John Clute as the most compelling of all van Vogt's work.[42] Henry Kuttner and C.L. Moore began to appear regularly in Astounding, often under the pseudonym 'Lewis Padgett', and more new writers appeared: Hal Clement, Raymond F. Jones, and George O. Smith, all of whom became regular contributors. The September 1942 issue contained del Rey's 'Nerves', which was one of the few stories to be ranked top by every single reader who voted in the monthly 'Analytical Laboratory' poll; it dealt with the aftermath of an explosion at an atomics plant.[40]
After 1942, s

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lgli/z:\!A\!Analog Science Fiction and Fact\Analog Science Fiction and Fact 2011-04 (600).mobi

lgli/Magazines\Analog Science Fiction and Fact\Analog Science Fiction and Fact - 600 - April 2011.mobi

Robert A. Heinlein : in dialogue with his century. Volume I, 1907-1948, Learning curve

Robert A. Heinlein: In Dialogue with His Century: Volume 1 (1907-1948): Learning Curve

Robert A. Heinlein: In Dialogue with His Century, Vol. 1 - Learning Curve (1907-1948)

Robert A. Heinlein / 1, 1907-1949, learning curve / William H. Patterson

Robert A. Heinlein: Volume I : Learning Curve, 1907–1948

Astounding/Analog Science Fact & Fiction 2011 No 4

Analog Science Fact–Science Fiction 2011 No 4

Analog Science Fiction/Science Fact 2011 No 4

All Clear (Hugo Award Winner - Best Novel)

All Clear - Book 4 - Oxford Time Travel

Volume 1: Learning Curve 1907-1948

Mockingjay (The Hunger Games, #3)

Cryoburn (13) (Vorkosigan Saga)

CryoBurn (Vorkosigan Saga, #14)

All Clear (All Clear, #2)

William H. Patterson, Jr.

Lois McMaster Bujold

by Suzanne Collins

Collins, Suzanne

Willis, Connie

CONNIE WILLIS

Baen Books ; Distributed by Simon & Schuster

New York : Scholastic Press, 2010.

Itsy Bitsy Entertainment Company

Scholastic Press Scholastic Inc

Listening Library, Incorporated

Simon & Schuster, Incorporated

Tom Doherty Associates, LLC

Random House, Incorporated

Riverdale, NY: Baen Books

Spectra Ballantine Books

Scholastic, Incorporated

Random House Canada Ltd

Random House AudioBooks

Random House USA Inc

Tor Science Fiction

Orchard Books

Forge Books

Tor Books

The Hunger Games, bk. 3, 1st pbk. printing, New York, NY, 2014

The Hunger Games, final book, First edition, New York, 2010

Analog Science Fiction and Fact 600 April 2011, 2011

Oxford Time Travel, New York, United States, 2010

Vorkosigan saga, Riverdale, NY, New York, ©2010

Open Road Integrated Media, Inc., [N.p.], 2010

The Hunger Games ; #3, 1st ed., New York, 2010

The hunger games trilogy, New York, 2010

1st ed., New York, New York State, 2010

United States, United States of America

First Edition first Printing, PS, 2010

Riverdale, NY, New York State, 2010

1st, 2010-09

1, FR, 2010

lg_fict_id_1155062

(1960-)

Previous edition: magzdb_pub:4229

"A Tom Doherty Associates book."
Includes bibliographical references.

"A Tom Doherty Associates book."
Includes bibliographical references and index.

Type: 英文图书

Bookmarks:
1. (p1) ACKNOWLEDGMENTS
2. (p2) ALL CLEAR
3. (p3) ABOUT THE AUTHOR

topic: Life on other planets; Immortalism; Cryonics

Bookmarks:
1. (p1) Chapter One
2. (p2) Chapter Two
3. (p3) Chapter Three
4. (p4) Chapter Four
5. (p5) Chapter Five
6. (p6) Chapter Six
7. (p7) Chapter Seven
8. (p8) Chapter Eight
9. (p9) Chapter Nine
10. (p10) Chapter Ten
11. (p11) Chapter Eleven
12. (p12) Chapter Twelve
13. (p13) Chapter Thirteen
14. (p14) Chapter Fourteen
15. (p15) Chapter Fifteen
16. (p16) Chapter Sixteen
17. (p17) Chapter Seventeen
18. (p18) Chapter Eighteen
19. (p19) Chapter Nineteen
20. (p20) Chapter Twenty
21. (p21) Aftermaths: Five Views
22. (p27) Miles Workosigan/Naismith: His Universe and Times

theme: Life on other planets; Immortalism; Cryonics

Well, he hasn't come yet, sir, he's more than a bit late tonight.<br><br>--London Porter to Ernie Pyle, referring to the German Bombers<br><br>London--26 October 1940<br><br>By noon Michael and Merope still hadn't returned from Stepney, and Polly was beginning to get really worried. Stepney was less than an hour away by train. There was no way it could take Merope and Michael--correction, Eileen and Mike; she had to remember to call them by their cover names--no way it could take them six hours to go fetch Eileen's belongings from Mrs. Willett's and come back to Oxford Street. What if there'd been a raid and something had happened to them? The East End was the most dangerous part of London.<br><br>There weren't any daytime raids on the twenty-sixth; she thought. But there weren't supposed to have been five fatalities at Padgett's either. If Mike was right, and he had altered events by saving the soldier Hardy at Dunkirk, anything was possible. The space-time continuum was a chaotic system, in which even a minuscule action could have an enormous effect.<br><br>But two additional fatalities--and civilians, at that--could scarcely have changed the course of the war, even in a chaotic system. Thirty thousand civilians had been killed in the Blitz and nine thousand in the V-1 and V-2 attacks, and fifty million people had died in the war.<br><br>And you know he didn't lose the war, Polly thought. And historians have been traveling to the past for more than forty years. If they'd been capable of altering events, they'd have done it long before this. Mr. Dunworthy had been in the Blitz and the French Revolution and even the Black Death, and his historians had observed wars and coronations and coups all across history, and there was no record of any of them even causing a discrepancy, let alone changing the course of history.<br><br>Which meant that in spite of appearances, the five fatalities at Padgett's Department Store weren't a discrepancy either. Marjorie must have misunderstood what the nurses said. She'd admitted she'd only overheard part of their conversation. Perhaps the nurses had been talking about the victims from another incident. Marylebone had been hit last night, too, and Wigmore Street. Polly knew from experience that ambulances sometimes transported victims to hospital from more than one incident. And that people one thought had been killed sometimes turned up alive.<br><br>But if she told Mike about having thought the theater troupe was dead, he'd demand to know why she hadn't known St. George's would be destroyed and conclude that was a discrepancy as well. Which meant she needed to keep him from finding out about the five casualties at Padgett's till she'd had a chance to determine if there actually were that many.<br><br>Thank goodness he wasn't here when Marjorie came, she thought. You should be glad they're late.<br><br>And thank goodness her supervisor had taken Marjorie back to hospital, though it meant Polly hadn't had a chance to ask her what exactly the nurse had said. Polly had offered to take Marjorie there herself so she could ask the hospital staff about the fatalities, but Miss Snelgrove had insisted on going, "So I can give those nurses a piece of my mind. What were they thinking? And what were you thinking?" she scolded Marjorie. "Coming here when you should be in bed?"<br><br>"I'm sorry," Marjorie had said contritely. "When I heard Padgett's had been hit, I'm afraid I panicked and jumped to conclusions."<br><br>Like Mike did when he saw the mannequins in front of Padgett's, Polly thought. Like I did when I found out Eileen's drop in Backbury didn't open. And like I'm doing now. There's a logical explanation for why Marjorie heard the nurses say there were five fatalities instead of three, and for why no one's come to get us. It doesn't necessarily mean Oxford's been destroyed. Research might have got the date the quarantine ended wrong and not arrived at the manor till after Eileen had left for London to find me. And the fact that Mike and Eileen aren't back yet doesn't necessarily mean something's happened to them. They might simply have had to wait till Theodore's mother returned from her shift at the aeroplane factory. Or they might have decided to go on to Fleet Street to collect Mike's things.<br><br>They'll be here any moment, she told herself. Stop fretting over things you can't do anything about, and do something useful.<br><br>She wrote out a list of the times and locations of the upcoming week's raids for Mike and Merope--correction, Eileen--and then tried to think of other historians who might be here besides Gerald Phipps. Mike had said there was an historian here from some time in October to eighteenth December. What had happened during that period that an historian might have come to observe? Nearly all the war activity had been in Europe--Italy had invaded Greece, and the RAF had bombed the Italian fleet. What had happened here?<br><br>Coventry. But it couldn't be that. It hadn't been hit till November fourteenth, and an historian wouldn't need an entire fortnight to get there.<br><br>The war in the North Atlantic? Several important convoys had been sunk during that period, but being on a destroyer had to be a ten. And if Mr. Dunworthy was canceling assignments that were too dangerous . . .<br><br>But anywhere in the autumn of 1940 was dangerous, and he'd obviously approved something. The intelligence war? No, that hadn't really geared up till later in the war, with the Fortitude and V-1 and V-2 rocket disinformation campaigns. Ultra had begun earlier, but it was not only a ten, it had to be a divergence point. If the Germans had found out their Enigma codes had been cracked, it clearly would have affected the outcome of the war.<br><br>Polly looked over at the lifts. The center one was stopping on third. They're here--finally, she thought, but it was only Miss Snelgrove, shaking her head over the negligence of Marjorie's nurses. "Disgraceful! I shouldn't be surprised if she had a relapse with all her running about," she fumed. "What are you doing here, Miss Sebastian? Why aren't you on your lunch break?"<br><br>Because I don't want to miss Mike and Eileen like I missed Eileen when I went to Backbury, but she couldn't say that. "I was waiting till you got back, in case we had a rush."<br><br>"Well, take it now," Miss Snelgrove said.<br><br>Polly nodded and, when Miss Snelgrove went into the stockroom to take off her coat and hat, told Doreen to send word to her immediately if anyone came in asking for her.<br><br>"Like the airman you met last night?"<br><br>Who? Polly thought, and then remembered that was the excuse she'd given Doreen for needing to know the names of airfields. "Yes," she said, "or my cousin who's coming to London, or anyone."<br><br>"I promise I'll send the lift boy to fetch you the moment anyone comes. Now, go."<br><br>Polly went, running downstairs first to look up and down Oxford Street and see if Mike and Eileen were coming, and then going up to ask the shop assistants in the lunchroom about airfields. By the end of her break, she had half a dozen names that began with the correct letters and/or had two words in their names.<br><br>She ran back down to third. "Did anyone ask for me?" she asked Doreen, even though they obviously hadn't come.<br><br>"Yes," Doreen said. "Not five minutes after you left."<br><br>"But I told you to send word to me!"<br><br>"I couldn't. Miss Snelgrove was watching me the entire time."<br><br>I knew I shouldn't have left, Polly thought. This is exactly like Backbury.<br><br>"You needn't worry, she hasn't gone," Doreen said. "I told her you were on lunch break, and she said she had other shopping to do and she'd--"<br><br>"She? Only one person? Not a man and a girl?"<br><br>"Only one, and definitely not a girl. Forty if she was a day, graying hair in a bun, rather scraggy-looking--"<br><br>Miss Laburnum. "Did she say what she was shopping for?" Polly asked.<br><br>"Yes," Doreen said. "Beach sandals."<br><br>Of course.<br><br>"I sent her up to Shoes. I told her it was likely too late in the season for us to carry them, but she was determined to go see. I'll watch your counter if you want to go--oh, here she is," she said as the lift opened.<br><br>Miss Laburnum emerged, carrying an enormous carpetbag. "I went to see Mrs. Wyvern and obtained the coats," she said, setting the carpetbag on Polly's counter, "and I thought I'd bring them along to you."<br><br>"Oh, you needn't have--"<br><br>"It was no bother. I spoke to Mrs. Rickett, and she said yes, your cousin could share your room. I also went to see Miss Harding about the room for your Dunkirk friend. Unfortunately, she'd already let it, to an elderly gentleman whose house in Chelsea was bombed. Dreadful thing. His wife and daughter were both killed." She clucked sympathetically. "But Mrs. Leary has a room to let. A second-floor back. Ten shillings the week with board."<br><br>"Is she in Box Lane as well?" Polly asked, wondering what excuse she could give after Miss Laburnum had gone to all this trouble if it was in a street on Mr. Dunworthy's forbidden list.<br><br>"No, she's just round the corner. In Beresford Court."<br><br>Thank goodness. Beresford Court wasn't on the list either.<br><br>"Number nine," Miss Laburnum said. "She promised me she won't let it to anyone else till your friend's seen it. It should do very nicely. Mrs. Leary is an excellent cook," she added with a sigh and opened the carpetbag.<br><br>Polly caught a glimpse of bright green inside. Oh, no, she thought. It hadn't even occurred to her when she'd asked Miss Laburnum about the coats that she might--<br><br>"I hoped to get a wool overcoat for your gentleman friend," Miss Laburnum said, pulling out a tan raincoat, "but this Burberry was all they had. There were scarcely any ladies' coats either. Mrs. Wyvern says more and more people are making do with last year's coats, and I fear the situation will only grow worse. The government's talking of rationing clothing next--" She stopped at the expression on Polly's face. "I know it's not very warm--"<br><br>"No, it's just what he needs. There's been so much rain this autumn," Polly said, but her eyes were on the carpetbag. She braced herself as Miss Laburnum reached in again.<br><br>"That's why I got your cousin this," she said, pulling out a bright green umbrella. "It's a frightful color, I know, and it doesn't match the black coat I obtained for her, but it was the only one without any broken spokes. And if it's too gaudy for her, I thought we might be able to use it in The Admirable Crichton. The green would show up well onstage."<br><br>Or in a crowd, Polly thought.<br><br>"It's lovely, I mean, I know my cousin won't think it too bright, and I'm certain she'll lend it to us for the play," she said, chattering in her relief.<br><br>Miss Laburnum laid the umbrella on the counter and pulled the black coat out of the carpetbag, then a black felt hat. "They hadn't any black gloves, so I brought along a pair of my own. Two of the fingers are mended, but there's still wear in them." She handed them to Polly. "Mrs. Wyvern said to tell you that if any of Padgett's employees are in a similar situation to send them to her and she'll see they get coats as well." She snapped the bag neatly shut. "Now, do you know if Townsend Brothers sells plimsolls and where I might find them?"<br><br>"Plimsolls?" Polly said. "You mean canvas tennis shoes?"<br><br>"Yes, I thought they might work instead of beach sandals. The sailors on board ship might have been wearing them, you see, when it sank. I asked in your shoe department, but they hadn't any. Sir Godfrey simply doesn't realize how filthy the station floors are--chewing gum and cigarette ends and who knows what else. Two nights ago, I saw a man"--she leaned across the counter to whisper--"spitting. I quite understand that Sir Godfrey has more pressing things on his mind, but--"<br><br>"We may have some in the games department," Polly said, cutting her off in midflow. "It's on fifth. And if we're out of plimsolls," which Polly was almost certain they would be, with rubber needed for the war effort, "you mustn't worry. We'll think of something else."<br><br>"Of course you will." Miss Laburnum patted her arm. "You're such a clever girl."<br><br>Polly escorted her over to the lift and helped her into it. "Fifth," she said to the lift boy, and to Miss Laburnum, "Thank you ever so much. It was terribly kind of you to do all this for us."<br><br>"Nonsense," Miss Laburnum said briskly. "In difficult times like these, we must do all we can to help each other. Will you be at rehearsal tonight?" she asked as the lift boy pulled the door across.<br><br>"Yes," Polly said, "as soon as I get my cousin settled in."<br><br>If she and Mike are back by then, she added silently as she went back to her counter, but she felt certain now they would be.<br><br>You were worried over nothing, she thought, picking up the umbrella and looking ruefully at it. And it will be the same thing with Mike and Eileen. Nothing's happened to them. There weren't any daytime raids today. Their train's been delayed, that's all, like yours was this morning, and when they get here, you'll tell Eileen the airfield names you've collected, and she'll say, "That's the one," and we'll ask Gerald where his drop is and go home, and Mike will go off to Pearl Harbor, Eileen will go off to VE-Day, and you can write up your observations of "Life in the Blitz" and go back to fending off the advances of a seventeen-year-old boy.<br><br>And in the meantime, she'd best tidy up her counter so she wouldn't have to stay late tonight. She gathered up the umbrella, the Burberry, and Eileen's coat and put them in the stockroom and then put the stockings her last customer had been looking at back in their box. She turned to put the box on the shelf.<br><br>And heard the air-raid siren begin its unmistakable up-and-down warble.<br><br><br><br>In all our long history we have never seen a greater day than this. Everyone, man or woman, has done their best.<br><br>winston churchill,<br><br>_VE-Day, 8 May 1945<br><br>London--7 May 1945<br><br>"douglas, the door's closing!" paige shouted<br><br>from the platform.<br><br>"Hurry!" Reardon urged. "The train will leave--"<br><br>"I know," she said, attempting to squeeze past the two Home Guards who were still singing "It's a Long Way to Tipperary." And forming a solid wall. She tried to go around, but dozens of people were trying to board the car and pushing her back away from the door. <BR><BR><i>Continues...</i> <!-- copyright notice --> <br></pre> <blockquote><hr noshade size='1'><font size='-2'> Excerpted from <b>All Clear</b> by <b>Connie Willis</b> Copyright © 2010 by Connie Willis. Excerpted by permission of Spectra, a division of Random House, Inc.<br> All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.<br>Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.

<p class="null1">Miles Vorkosigan is back!</p>
<p>Kibou-daini is a planet obsessed with cheating death. Barrayaran Imperial Auditor Miles Vorkosigan can hardly disapprove—he’s been cheating death his whole life, on the theory that turnabout is fair play. But when a Kibou-daini cryocorp—an immortal company whose job it is to shepherd its all-too-mortal frozen patrons into an unknown future—attempts to expand its franchise into the Barrayaran Empire, Emperor Gregor dispatches his top troubleshooter Miles to check it out.</p>
<p>On Kibou-daini, Miles discovers generational conflict over money and resources is heating up, even as refugees displaced in time skew the meaning of <i>generation</i> past repair. Here he finds a young boy with a passion for pets and a dangerous secret, a Snow White trapped in an icy coffin who burns to re-write her own tale, and a mysterious crone who is the very embodiment of the warning <i>Don’t mess with the secretary</i>. Bribery, corruption, conspiracy, kidnapping—something is rotten on Kibou-daini, and it isn’t due to power outages in the Cryocombs. And Miles is in the middle—of trouble!</p>
<p>“Fresh, intriguing, and, as always with Lois McMaster Bujold, superb.” —<b>Robert Jordan</b></p>
<p>“It is such a delight to read something by such a good writer, who now seems to be writing at the height of her powers. . . . I really have seldom enjoyed a book so much . . . I couldn’t turn the pages fast enough.” —<b>Diana Wynne Jones</b></p>
<p>“Living breathing characters who inhabit unusual yet believable worlds.” —<b>Jean Auel</b></p>
<p>“Bujold successfully mixes quirky humor with just enough action, a dab of feminist social commentary and her usual superb character development . . . enormously satisfying.” —<i>Publishers Weekly</i></p>
<p>“One of sf’s outstanding talents . . . an outstanding series.” —<i>Booklist</i></p>
<p>“Excellently done . . . Bujold has always excelled at creating forceful characters and she does it here again.” —<i>Denver</i> <i>Post</i></p>
<p>“. . . an intelligent, well-crafted and thoroughly satisfying blend of adventure, sociopolitical commentary, scientific experiments, and occasional perils . . . with that extra spicing of romance. . . .” —<i>Locus</i></p>

<p>In <i>Blackout</i>, award-winning author Connie Willis returned to the time-traveling future of 2060&mdash;the setting for several of her most celebrated works&mdash;and sent three Oxford historians to World War II England&#58; Michael Davies, intent on observing heroism during the Miracle of Dunkirk; Merope Ward, studying children evacuated from London; and Polly Churchill, posing as a shopgirl in the middle of the Blitz. But when the three become unexpectedly trapped in 1940, they struggle not only to find their way home but to survive as Hitler&rsquo;s bombers attempt to pummel London into submission.<p>Now the situation has grown even more dire. Small discrepancies in the historical record seem to indicate that one or all of them have somehow affected the past, changing the outcome of the war. The belief that the past can be observed but never altered has always been a core belief of time-travel theory&mdash;but suddenly it seems that the theory is horribly, tragically wrong.<p>Meanwhile, in 2060 Oxford, the historians&rsquo; supervisor, Mr. Dunworthy, and seventeen-year-old Colin Templer, who nurses a powerful crush on Polly, are engaged in a frantic and seemingly impossible struggle of their own&mdash;to find three missing needles in the haystack of history.<p>Told with compassion, humor, and an artistry both uplifting and devastating, <i>All Clear</i> is more than just the triumphant culmination of the adventure that began with Blackout. It&rsquo;s Connie Willis&rsquo;s most humane, heartfelt novel yet&mdash;a clear-eyed celebration of faith, love, and the quiet, ordinary acts of heroism and sacrifice too often overlooked by history.&#160;&#160;&#160;</p>

In Blackout, award-winning author Connie Willis returned to the time-traveling future of 2060--the setting for several of her most celebrated works--and sent three Oxford historians to World War II England: Michael Davies, intent on observing heroism during the Miracle of Dunkirk; Merope Ward, studying children evacuated from London; and Polly Churchill, posing as a shopgirl in the middle of the Blitz. But when the three become unexpectedly trapped in 1940, they struggle not only to find their way home but to survive as Hitler's bombers attempt to pummel London into submission. Now the situation has grown even more dire. Small discrepancies in the historical record seem to indicate that one or all of them have somehow affected the past, changing the outcome of the war. The belief that the past can be observed but never altered has always been a core belief of time-travel theory--but suddenly it seems that the theory is horribly, tragically wrong. Meanwhile, in 2060 Oxford, the historians' supervisor, Mr. Dunworthy, and seventeen-year-old Colin Templer, who nurses a powerful crush on Polly, are engaged in a frantic and seemingly impossible struggle of their own--to find three missing needles in the haystack of history. Told with compassion, humor, and an artistry both uplifting and devastating, All Clear is more than just the triumphant culmination of the adventure that began with Blackout. It's Connie Willis's most humane, heartfelt novel yet--a clear-eyed celebration of faith, love, and the quiet, ordinary acts of heroism and sacrifice too often overlooked by history

Robert A. Heinlein (1907-1988) Is Widely Considered The Greatest American Science Fiction Writer Of The 20th Century. A Famous And Bestselling Author In Later Life, He Started As A Navy Man And Graduate Of Annapolis Who Was Forced To Retire Because Of Tuberculosis. A Left-wing Politician In The 1930s, He Became One Of The Sources Of Libertarian Politics In The Usa In His Later Years. His Most Famous Works Include The Future History Series (stories And Novels Collected In The Past Through Tomorrow And Continued In Later Novels), Starship Troopers, Stranger In A Strange Land, And The Moon Is A Harsh Mistress. Given His Desire For Privacy In The Later Decades Of His Life, He Was Both Stranger And More Interesting Than One Could Ever Have Known. This First Of Two Volumes Covers Heinlein's Life Up To The Midlife Crisis That Changed Him Forever.--from Publisher Description. V. 1. 1907-1948, Learning Curve -- V. 2. The Man Who Learned Better, 1948-1988. William H. Patterson, Jr. A Tom Doherty Associates Book. Includes Bibliographical References And Index.

2014-03-14