The Magazine of Fantasy and Science Fiction

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The Magazine of Fantasy and Science Fiction (hereafter referred to as F & SF abbreviated) is an American fantasy - and science fiction - Magazine . First published in 1949 , it was a byproduct of Lawrence E. Spivak's Mercury Press . The German-language editions from Heyne Verlag differ greatly in terms of the scope and order of the publications.

The editor Anthony Boucher and J. Francis McComas have mid 1940s the idea of a new format in addition to the existing Ellery Queen's Mystery Magazine to create, brought to Spivak. Once approved, the first issue was called The Magazine of Fantasy . But it was quickly rethought and the title was accordingly renamed from the second issue to Magazine of Fantasy and Science Fiction .

The way it was presented, the F&SF differed greatly from the usual formats of the standard at that time, the pulp magazine . The differences were:

  • There were no illustrations within the published short stories .
  • There were no column headings
  • The text, unlike in dime novels , was not justified in two columns

In the eyes of historian Mike Ashley , the F&SF stood out from other magazines, and he judged it to be exceptional. The F&SF quickly became one of the most important science fiction and fantasy magazines because it covered more literary fields. The other contemporary magazines could not deliver this quality.

Well-known stories published in the early years include Richard Matheson's The Third Planet and Ward Moore's The Great South . The latter is an alternate world story in which the American South won the American Civil War .

For health reasons, McComas retired in 1954 , so that Boucher was sole editor of the magazine until 1958. When he won a Hugo Award for the best magazine of the year with the magazine in 1958 , he found a suitable successor for himself in Robert Mills , who took on the task for the next two years.

Subsequently, Mills was responsible for the publication of Daniel Keyes short story Charly (filmed as: Charly ; book title also: Flowers for Algernon ), Project Luna by Algis Budrys , Starship Troopers by Robert Heinlein and the first of Brian Aldiss Hothouse stories.

In the first editions, George Salter was responsible for the creative design and the cover of the magazine, at the time the artistic director of Mercury Press. As a result, other artists were added: Chesley Bonestell , Kelly Freas , and Ed Emshwiller .

1962 Mills was replaced by Avram Davidson as editor. When Davidson left the job in 1964 , Joseph Ferman took over . Ferman bought the magazine in 1954 from the then rights holder Spivak. During this time, his son Edward began to take over more and more editorial activities under the guidance of his father.

At the beginning of 1966 , Edward L. Ferman was listed alongside his father as the editor. Four years later, he took over all of his father's duties and moved his office to his Connecticut home . Ferman Jr. stayed for over 25 years. then editor and published a large number of short stories recognized as exceptional. Among other things, the Fritz Leibers Ill Met in Lankhmar , Robert Silverberg's Mit den Toten Born , and Stephen King's The Dark Tower cycle. In 1991 he handed over the administrative tasks to Kristine Kathryn Rusch under whose aegis noticeably more stories of the genres horror and dark fantasy were published than in Ferman's time. However, in the 1990s the interest of the readers and the size of the circulation decreased, this also registered most of the magazines. F&SF was no exception. In 1997 Gordon Van Gelder replaced Rush and subsequently bought F&SF from Ferman in 2001 . However, readership continued to decline. In 2011 there were only 15,000 buyers of an edition. In 2015 Charles Coleman Finlay took over the business as editor.

Lawrence Spivak

Portrait photo of a man in a suit and with glasses
Lawrence Spivak 1960

The first fantasy magazine Weird Tales appeared in 1923. In 1926, the Amazing Stories appeared as the first science fiction magazine. In the late 1930s, the genre flourished in the United States. Almost 20 new science fiction or fantasy magazines appeared between 1938 and 1941 alone. All of these publications were pulp magazines, and despite a few low-quality stories, most of the publications were of poor quality. As a result, they were seen by readers as trash . A prejudice against which science fiction and fantasy had to assert themselves for decades. In 1941 the first issue of Ellery Queen's Mystery Magazine appeared , dealing with detective stories and edited by Fred Dannay . His magazine appeared in the form of a digest and published a mixture of classic, well-known works and new material. Dannay avoided the sensational writing style of Pulp magazines and his magazine quickly became a success.

In the early 1940s, Anthony Boucher , a successful science fiction, fantasy, and mystery writer , met Fred Dannay while working on the Ellery Queen radio show . Boucher also knew the editor J. Francis McComas , who shared his interest in science fiction and fantasy. In 1944 McComas and Boucher came up with the idea of ​​a fantasy version of Ellery Queen's Mystery Magazine and approached Dannay about the project . Dannay approved of the idea, but the problem of paper shortages due to the Second World War was in the room. In the following year, McComas and Boucher therefore proposed that the new format be co-published under the name of Ellery Queen. However, Dannay was not familiar with the fantasy scene and therefore asked the two to submit their idea to Lawrence Spivak , the editor of Ellery Queen's Mystery Magazine .

In January 1946, the two met with Spivak in New York , who informed them later that year that he was ready to support the idea. Spivak asked the two of them to gather material for the new magazine. The result was a new story by Raymond Chandler , as well as re-releases of some works by HP Lovecraft , John Dickson Carr , and Robert Bloch . Initially, the first issue should appear in early 1947, Boucher and McComas suggested the name Fantasy and Horror , but the start date was delayed due to the current poor sales of digest magazines. In addition, he suggested a price of 35 US cents (at that time the equivalent of about 1.47 DEM) in order to have a buffer for the feared rather poor sales figures. In May Spivak proposed the name The Magazine of Fantasy , and in August of the same year a press release announced the first publication date for October 1947. On October 6, 1949, Spivak, MComas, and Boucher met for lunch at the Waldorf-Astoria in New York. They wanted to commemorate the centenary of Edgar Allan Poe's death and launch a new, regular fantasy anthology. Among others, Terry Carr , Basil Rathbone and Boris Karloff invited.

The first edition was published by Fantasy House, a subsidiary of Mercury Press. It sold 57,000 times, which was fewer than Spivak had hoped. Nevertheless, in November he gave Boucher and McComas approval for a second edition.

Now the title has been changed to The Magazine of Fantasy & Science Fiction to appeal to the readership of both styles. The sales of the second edition, however, were good enough for Spivak to approve further editions. This secured the future of the magazine for the first time. As a result, a difficulty arose from the fact that Boucher and McComas lived on the west coast, but the publishing office was located on the east coast in New York.

From December 1950 two issues of the magazine were published per month. The payment basis for the early edition was two US cents (then 8 pfennigs) per word, or $ 100 (then 420 DEM) for the entire short story. This corresponded to the remuneration of the authors of Astounding Science Fiction , the leading science fiction magazine at the time. In 1953, the pay changed to 3.5 cents per word for stories under 3,000 words.

In 1951 McComas was forced to downgrade his engagement for health reasons. In addition to his work as the editor of the F&SF , he also had a full-time job in sales. McComa's salary was reduced as a result. From then on he described his new role as a consultant. From that point on, Boucher took over most of the editing and proofreading activities. McComas then reviewed the result and, on rare occasions, turned down a story. From August of the following year, the editions were published monthly. In 1954 Spivak sold his shares in Mercury Press to its managing director Joseph Ferman . In the same year McComas withdrew completely from the publishing business due to his deteriorating health.

The Fermans and Gordon Van Gelder

Portrait photo of a man in front of a microphone
Gordon Van Gelder 2007

In 1957, Ferman started Venture Science Fiction, a complementary magazine that focused on more action-oriented stories than the F&SF . Because Boucher was busy with his work, the previous head of the F&SF service was given the job of editor for Venture , with Boucher at his side as a consultant. Shortly thereafter, Ferman sold Ellery Queen's Mystery Magazine to Bernard Davis , who left Ziff-Davis to start his own project. Ferman kept F&SF through the time Boucher retired and hired Robert P. Mills as editor, although he remained chief of service for Queen's magazine . Mills stayed for over three years and left F&SF in 1961 to devote more time to his work as a literary agent. Ferman replaced him with Avram Davidson , whose name first appeared in the masthead of the April 1962 issue. In the 1950s, Joseph Ferman's son Edward worked as an assistant for the magazine, which he left in 1959 to expand his professional experience and gain practical experience in other companies. In 1962 he returned and worked under Davidson as chief of duty.

In 1963, Ted White , who later became the editor of Amazing Stories, became an assistant editor and stayed until 1968. In late 1964, Davidson resigned from his position to devote more time to his writing. He was replaced by Joseph Ferman, who in turn handed over to his son Edward in May 1965. It was not until 1966 that this change was also mentioned in the imprint. Four years later, Edward Ferman also took over the role of publisher from his father. One of his first acts was to move his office to his own home in Cornwall , Connecticut.

His wife, Audrey, was employed as a business graduate and Andrew Porter became an editorial assistant. In the early 1970s, Ferman contacted Sol Cohen , owner of Amazing Stories and Fantastic Stories , to buy out these competing magazines. Ferman wanted to combine the two into a single magazine and run this magazine parallel to F&SF . Cohen decided against it and kept both titles.

In 1969 the price of an issue of the F&SF rose to 50 US cents (at that time the equivalent of about 2 DEM). At the end of the 1970s the price rose to $ 1.25 (equivalent to DEM 2.30) while the previous number of pages increased from 128 to 160 (in the American original). The number of units increased from almost 50,000 to around 60,000. One of the reasons will have been the use of the marketing company Publishers Clearing House, which supported the magazine with lottery events and the concept of “price-based selling”. Of course, the consistently high quality also played a role. To put it in Ashlex's words: “ F&SF delivered the goods month after month” - “ F&SF delivered the quality month after month.” They reliably kept the release dates every month for the next two decades. Ferman managed to keep the sales figures always over 50,000 and sometimes over 60,000 and that while other magazines lost their subscribers. In 1991 he transferred the editor-in-chief to Kristine Kathryn Rusch and in the course of this the sales figures fell again.

In 1997 Gordon Van Gelder took over the editorial office and in 2001 he bought the F&SF from Ferman and was from then on also a publisher. From 2001 to 2009, John Joseph Adams was assistant editor. But even Van Gelder and Adams couldn't prevent the circulation figures from falling further and further, so in 2011 they had reached almost 15,000. As a result, Van Gelder decided to publish the magazine only every two months, while increasing the number of pages and the price. He hired Charles Coleman Finlay to be the guest editor of the July / August 2014 issue. Finlay then got a full-time job and started his job with the March / April 2015 edition.

Content and reception

Boucher, McComas, Mills, and Davidson

Boucher and McComa's intent was to copy the Ellery Queen's Mystery Magazine formula for success : reprinting of previously published work along with avoiding the poor quality that pulp magazines had. Just before they published the first issue, they had a dispute. The question was "Where is the line between science fiction and fantasy to be drawn?" When Joseph Ferman pointed out that adding science fiction would give the magazine a wider readership, his proposal was accepted. In the first attempt, only one story was printed that can be described as science fiction. It was Theodore Sturgeon's The Hurkle is a Happy Beast , two other reprints were included.

The layout of the issues inside was different from what the previous magazines preferred. There were no illustrations and no two-column structure of the text. There was a section on book reviews, but no letters to the editor. The logo design was the work of art director George Salter, who was responsible for it until 1958. He was responsible for the surreal covers of the early years. Later artists continued this, but the basic design was retained for decades.

As early as the second episode, the "SF" was added to the name without notice, but no more SF stories found space in the second issue than in the first. With one exception, Damon Knights Not with a Bang , which Knight himself described as his first professionally published story. Richard Matheson's first publication Born of Man and Woman was printed in the next issue . In retrospect, called one of the best stories F&SF ever published.

Many authors were won over the next few years, including Margaret St. Clair , Reginald Bretnor , Miriam Allen deFord , and Zenna Henderson . Boucher himself managed to persuade many renowned authors to publish. Examples are Arthur C. Clarke , Fritz Leiber and Ray Bradbury . Furthermore, began Fletcher Pratt and L. Sprague de Camp Gavagan's Bar in F & SF . The first John the Balladeer Story by Manly Wade Wellman appeared in the December 1951 issue. Boucher bought A Canticle for Leibowitz from Walter M. Miller, Jr. , who had previously failed to sell the work elsewhere, and published it in 1955 , now recognized as a classic of the genre.

A controversial article by astronomer RS Richardson entitled The Day After We Land on Mars appeared in 1955. Richardson claimed, "the men stationed on a planet [to be] openly accompanied by women to relieve the sexual tensions that develop among normal healthy males "(Something like:" The men who colonize a distant planet must have sexually frank women by their side in order to meet the natural sexual needs of healthy men in order to achieve the colonization of the universe. ") The reactions of Poul Anderson and Miriam Allen deFord will appear in F&SF next year . DeFord argued that, according to Richardson's article, women are arguably not the same people as men. This debate about the role of women in science fiction preoccupied the genre for a long time.

In 1958, F&SF won the first Hugo Award for best magazine. When Mills became editor, he continued the high standards of Boucher and consequently F&SF won the award in 1959 and 1960. Mills continued to publish a wide variety of material without restricting the magazine to subgenres. Ashley cited John Collier , Robert Arthur Jr. , Allen Drury, and Ray Bradbury, all of whom were mainstream reputable authors, who were published in F&SF in 1960 to illustrate the diversity of the magazine. For example, Daniel Keyes was unable to sell his Flowers for Algernon , later filmed under the title Charly , until Mills bought it in 1959. It won numerous SF awards and after Clute and Nicholls it was ".. arguably the most popular SF novel ever published ..." (roughly: "Probably the most popular SF short story ever published"). See also Stranded on Luna , a novel about a deadly artifact left on the moon by aliens . This novel is considered to be the best work by Algis Budrys . As a result, Budry's Hothouse , the first novel in this successful series, appeared in 1961 in the F&SF .

Zenna Henderson's stories about The People , a group of humanoid alien refugees on Earth, became a central feature of the magazine in the 1950s and 1960s, according to SF critic John Clute. Boucher published Damon Knights The Country of the Kind in 1956 , which Ashley called One of his most potent stories from the fifties. (Approximately: One of the strongest stories of the 1950s) was described. That same year, Reginald Bretnor's first story about the Feghoots was published. In the late 1950s, while Mill was in charge, Robert A. Heinlein's Starship Troopers appeared as a series in F&SF under the title Starship Soldiers , but they were discontinued because of excessive violence. In 1960 Heinlein won the Hugo Award with it and it became one of his most controversial works.

Among the cover artists of the first decade, SF historian and critic Thomas Clareson named Chesley Bonestell's early astronomical scenes the most notable. They were the first covers to replace George Salter's surreal covers. Also contributed Kelly Freas and Ed Emshwiller at the covers of the 1950s. Mel Hunter began designing covers in November 1953. His main topic from then on was a very long series of covers showing artificial intelligences. Shown were z. B. Robots in the midst of the human population who watered plants in a desolate environment, handled toys or read catalogs. At the same time a section with literature recommendations appeared. Boucher did not review his own works in this column. He simply listed his new books and encouraged readers in turn to write a review. When Boucher left the F&SF , Damon Knight took over the recommendations, Alfred Bester was in charge from 1960 until Avram Davidson took over, until Davidso himself became the editor.

In 1958, Isaac Asimov started a scientific article column in Venture Science Fiction . When Venture closed, Mills brought Asimov and his column to F&SF . The column, which, according to Asimov, gave him more pleasure than his fiction works, became part of the F&SF for decades without interruption . This column has long contributed to the continuity and consistency of the F&SF .

When Avram Davidson became editor in 1962, he was known there for his short story The Golem from 1955. During his time, he opened the magazine to works outside the English-speaking world, such as Hugo Correa , Herbert Franke , and Shin 'ishi Hoshi . Davidson was also able to attract new authors and stories, such as Terry Carr's first publication Who Sups with the Devil? and Roger Zelazny's The 2224 Dances of Locar in November 1963. He began publishing features about the authors. In the following years articles appeared on: Theodore Sturgeon, 1962; Ray Bradbury, 1963. This extension was originally Ferman's idea and has been used repeatedly since then. There were articles on: Isaac Asimov, 1966, Fritz Leiber, 1969; Poul Anderson, 1971; James Blish , 1972; Frederik Pohl , 1973; Robert Silverberg , 1974; Damon Knight, 1976; Harlan Ellison , 1977; Stephen King , 1990; Lucius Shepard , 2001; Kate Wilhelm , 2001; Barry N. Malzberg , 2003; Gene Wolfe , 2007; and David Gerrold , 2016.

Edward Ferman

Joseph Ferman's son, Edward Ferman, served as chief of staff during Davidson's tenure. When Davidson left the F&SF , Joseph took over the editing position, but in truth it was Edward who did all of the work. This ended in 1965 when Edward also officially became editor. In the 1960s and 70s, the publications were thematically varied. Works of the New Wave by Thomas Disch and John Sladek were taken into account, as were the new American authors Samuel Delany and Roger Zelazny, and there was also space for stories from the field of hard science fiction by Gregory Benford and John Varley , and fantasy contributions by Sterling Lanier and Tom Reamy , and horror stories by Charles L. Grant and Stephen King , to name a few.

German editions

The best stories from THE MAGAZINE OF FANTASY & SCIENCE FICTION was an anthology or book series published by Heyne Verlag from 1963 to 2000 , in which German translations of science fiction and fantasy stories from the US Magazine of Fantasy, which has been published since 1949 & Science Fiction (after the original series, Heyne's German series is sometimes simply called MFSF). In the first decade of publication from 1963 to 1972, the series' original title was A Selection of the Best SF Stories from THE MAGAZINE OF FANTASY AND SCIENCE FICTION , until the final title was introduced in 1973 with volume 34, Flight to Murdstone .

In MFSF itself (hence the beginning still in Heynes these were the first General series appearing) who later numerous published by Heyne Verlag SF anthology series and -Kurzgeschichtensammlungen, often by starting from the early 70's Wolfgang Jeschke were issued, the great precisely because of the The success of this first series in 1972 moved from Kindler Verlag to Heyne, and from then on held the post of editor-in-chief and editor-in-chief of Heyne's SF and fantasy department for almost 30 years. From volume no. 37, Traumpatrouille (April 1974), Jeschke was repeatedly involved as an editor on the series, sometimes under the pseudonym E. Senftbauer .

Many of the stories published in German for the first time in the series were winners of the Hugo Award , Nebula Award , Locus Award and / or Philip K. Dick Award , which the German series referred to in sticker-like prints from the early 80s.

History and appearance

Heyne presented the anthology series in Terra No. 276 (March 1963) in the in-house Moewig Verlag with the statement to publish the SF short story anthology with a new SF novel on a monthly basis. The two-month publication frequency was only held up to volume no. 16 (October 1966); Volume 17 was not published until February 1967, and from then on there have been around 2-3 new volumes per year.

Price development of the series
Volume no. Price (DE)
1 (March 1963) DM 2.20
30 (December 1971) DM 2.80
52 (April 1979) DM 3.80
64 (January 1983) DM 5.90
70 (November 1984) DM 7.80
80 (August 1989) DM 9.80
82 (July 1990) DM 12.80
99 (1999) DM 14.90

The series was distinguished early on by the special feature of having a tagline based on the pattern "The story of / from the ..." on the back of the volume instead of a regular blurb for each story contained in the respective volume . The title of each volume was based on the story it contained, which the editor rated as the best in the volume. The series was edited by Charlotte Winheller (pseudonym of Charlotte Franke; 1963–1964), Clark Darlton (1964–1965), Wulf H. Bergner (1966–1975), Manfred Kluge (1976–1982) and Ronald M. Hahn (1983– 2000).

In 1981 Heyne also published the German translation of the 364-page anniversary volume 30 Jahre MAGAZINE OF FANTASY & SCIENCE FICTION on the occasion of the 30th anniversary of the US original, in which the American publisher Edward L. Ferman compiled his favorite F&SF stories from 1949 to 1979 in one volume. Three volumes, No. 75, Sphärenkänge (1987), No. 78, People's Republic of Disneyland (1988), and No. 79, The Return of the Rainbow Bridge (1989), indicated on the cover with a special lettering in the series title the 25th year anniversary of the German series.

The number of pages per German volume fluctuated from the early 60s to the late 70s between approx. 140–160 pages, and then rose rapidly to approx. 225 pages in the early 80s. The peak was reached in the middle of the 80s with approx. 320 pages per volume, to level off at approx. 250 pages by the end of the 80s, whereby the series then remained until the end. For the price development of the series, see the table on the right.

The appearance of the series changed several times. In the first phase up to volume no.20, Murder in the Space Station (June 1968), the titles were still very much in the style of the trivial entertainment literature of the 50s and early 60s: The cover picture was a watercolor (which now and then through elements the photomontage was added), the title text was in a sans serif font and the titles of some of the stories were printed on the cover, with the title of the cover story at the top and being the largest. From volume no. 21, Escape into the Past (December 1968), the first slight change occurred, as only the title of the series and the title of the respective volume were printed on the cover.

With Volume No. 34, Flight to Murdstone (April 1973), the series took on its classic appearance, which it was to maintain until Volume No. 83, The Aquarius (1991): high-quality, the genre of the fantastic and often photo-realistic Acrylic painting , with two nested, rounded rectangles (often with double frames) for the title of the series in an Art Deco font and the title of the volume in a sans-serif font (the latter was in a modernist Bauhaus in the early 80s - font ( Eurostile ?) Changed).

From around volume no.25 (1970) to beyond volume no.70, Welcome to Coventry (November 1984), fabric bindings made of fibrous linen were used, at the latest with volume no.75 , Spherical Sounds (1987), the series received again a smooth, varnished cardboard cover that she had originally owned. It was not until volume 36, A Pegasus for Mrs. Bullitt (December 1973), that the volumes were assigned an ISBN, which was initially only printed in the imprint. From volume no. 70 (November 1984) the ISBN was also printed under the blurb on the back. It was not until around volume 50, Die Cinderella-Maschine (1978), that the number of the respective volume appeared on the spine for the first time. Volume 69, Night in the Ruins (July 1984), was a misprint: the back and spine of the book accidentally read 68, while the correct number was on the title page .

Only from volume no. 46, Death of a Samurai (1977), was the author of the respective cover picture mentioned in the imprint. The psychedelic cover pictures created by the Kurd-Laßwitz Prize winner Jörg Remé were based on the almost abstractionist, but still figurative expressionism of Franz Marc , Paul Klee , George Grosz , Heinz Edelmann , Peter Max and Milton Glaser .

At the latest at the beginning of the 80s, the series apparently became of interest to collectors, since Heyne, from volume 66, In the fifth year of the journey (summer 1983), printed a note on the frontispiece expressly directed to them on the frontispiece , which was regularly on the same page , due to repeated inquiries The list of previous volumes in the series unfortunately does not represent a binding list of the titles available from them.

With Volume 84, The Magic Helmet (1991), the series left its classic appearance. Although the two rounded rectangles on the cover have been retained, the font of both lettering in the series and volume titles has been changed to an ordinary, Times-New-Roman-style font and the acrylic drawings on the cover, which are provided with numerous shades and color gradients, with simpler, replaces gradual images.

Only the last published volume No. 101, Die Roosevelt-Depeschen (2000), had a high-quality acrylic painting on the cover again. At the same time, the two nested rectangles were replaced by a single line that separated the title of the series and volume, which were now in a sans serif, futuristic Bank Gothic-like font with small caps .

attitude

Volume No. 102 already had a cover picture in the same style as Volume No. 101 and was announced with the publication date 2001 under the title Heroes of the Third Millennium , but then no longer appeared. Wolfgang Jeschke continued the concept of periodic SF short story anthology at Heyne with two volumes of the new, annually published Ikarus - Best of Science Fiction in 2001 and 2002, until this attempt to revive the concept was discontinued.

According to information published on Amazon by Hannes Riffel, translator and founder of Golkonda Verlag , MFSF's hiring was based on the fact that Heyne could no longer afford to commission his own translations of SF short stories, which was also the case The reason for this was that Jeschke in Ikarus was only able to recycle old material that Heyne had already published at least once in the past.

After the series was discontinued in 2001, the last editor of the German MFSF since 1983, Ronald M. Hahn, founded the similar SF anthology series Nova , which has been published since 2002 , together with Michael K. Iwoleit and Helmuth W. Mommers , but which focuses solely on stories limited from the German-speaking area.

Issues outside the US

  • Argentina . Minotauro (September 1964 - June 1968), edited by Francisco Porrúa under the alias Ricardo Gosseyn. The publication took over the Ediciones Minotauro in Buenos Aires for 10 issues. The full title was Minotauro fantasía y ciencia-ficción . Minotauro did not publish the US editions of F&SF , but compiled the editions individually from various US editions.
  • Australia . The Magazine of Fantasy & Science Fiction (November 1954 - August 1958) published by Consolidated Press. 14 issues. The content came from the US editions, but was published in other compilations.
  • Brazil . Galáxia 2000 (first edition in January 1968), edited by Mario Camarinha and published by Ediçōes O Cruzeiro. 4 or 5 issues. They included not only content from the US, but also from the Italian, French, and Argentine editions. In 1970 it was replaced by the Magazine de Ficçāo Cientifica , which first appeared in April 1970 through November 1971. There were 20 editions, each of which also contained a work by a local writer.
  • Germany . Magazine of Fantasy and Science Fiction (1963-2000). Published by Heyne through issue 101. The editors were: 1-9 Charlotte Winheller ; 10–14 Walter Ernsting ; 15-42 Wulf H. Bergner ; 43–63 Manfred Kluge ; 64-101 Ronald M. Hahn . The full title of the German edition was: A selection of the best SF stories from The Magazine of Fantasy and Science Fiction . Later renamed several times as follows: The best SF stories from The Magazine of Fantasy and Science Fiction and: The best stories from The Magazine of Fantasy and Science Fiction .
  • France . Fiction (October 1953 - February 1990), edited most of the time by Alain Dorémieux . 412 issues. Fiction published native writers even more intensively, in addition to translations from the American. Many of these originally French works found their way into the American editions of F&SF . An example of this is Les Premiers jour de mai by Claude Veillot , published in the May 1960 issue. In 1961 it was translated by Damon Knight and appeared in the F&SF December issue. Since 2005 it has only been published twice a year.
  • Israel . Fantasia 2000 (1978–1984), editors: Aharon Hauptman and Gabi Peleg; A. Tene published the first 15 issues, all 44 through Hyperion. Most of the works were translations of the American original with a few Israeli short stories. In addition, Asimov's column was included in addition to letters to the editor and factual articles.
  • Italy . Fantascienza (November 1954 - May 1955), editor was Livio Garzanti , published by Garzanti and the Treves brothers. 7 issues. Translations of F&SF editions. The successor Fantasia & Fantascienza (December 1962 - October 1963) with the editor G. Jori, published by Minerva Editrice, came up with 10 editions which also contained Italian works.
  • Japan . Japanese SF マ ガ ジ ン , Esu-Efu Magajin (February 1960 - date), edited by, among others: Masami Fukushima , Ryozo Nagashima and Imaoka Kiyoshi . They started with the translations of the F&SF and over the years published more and more Japanese authors. It has been Japan's leading SF magazine since 2016.
  • Mexico . Ciencia y Fantasía (September 1955 - December 1957), published by Novaro-México, SA 14 issues. Translations from various original editions.
  • Norway . Nova (1971–1979), editors: Terje Wanberg , Øyvind Myhre , Per G. Olson and Johannes H. Berg , published by Stowa Forlag. 34 issues. First published as a science fiction magazine, it began with translations of the F&SF . From the fourth edition, more works were added.
  • Sweden . Jules Verne Magasinet (1969–2013), editing and publication by Bertil Falk (1969–1971); Editor Sam Lundwall (1972-2013) published by Askild & Kärnekull (1972), Delta (1973-1983), and Sam J Lundwall Fakta & Fantasi (1983-2010).

Lists of the German-language editions

See also

Web links

Individual evidence

  1. ^ Winner of 1958. In: Locus Online . May 27, 2004, accessed August 5, 2018 .
  2. ^ SFE: Science Fiction Encyclopedia. Retrieved January 29, 2017 .
  3. ^ SFE: Science Fiction Encyclopedia. Retrieved January 29, 2017 .
  4. ↑ Ashley (2000), pp. 237-255.
  5. ^ SFE: Science Fiction Encyclopedia. Retrieved January 29, 2017 .
  6. ^ Ashley (2000), pp. 20-21.
  7. ↑ Marks (2008), p. 105.
  8. ↑ a b c d Clareson (1985), p. 391.
  9. ↑ Historical exchange rates. Retrieved December 20, 2017 .
  10. ↑ Marks (2008), pp. 106-107.
  11. ↑ Marks (2008), p. 107.
  12. ↑ a b c Marks (2008), p. 108.
  13. ↑ Marks (2008), pp. 108-109.
  14. ↑ Historical exchange rates. Retrieved December 20, 2017 .
  15. ↑ Historical exchange rates. Retrieved December 20, 2017 .
  16. ↑ del Rey (1979), p. 170.
  17. ↑ McComas (1982), pp. 7-13.
  18. ↑ de Camp (1953), p. 113.
  19. ↑ a b c d e Marks (2008), p. 110.
  20. ^ Ashley (2005), p. 21.
  21. ↑ De Larber (1985), p. 705.
  22. ^ Ashley (2005), p. 170.
  23. ^ Carl Spielvogel: Advertising: 2 Big Agencies Study a Merger . In: The New York Times , Aug. 14, 1957, p. 34. 
  24. ↑ De Larber (1985), p. 380.
  25. ↑ a b Ashley (2005), p. 171.
  26. ^ Ashley (2005), p. 217.
  27. ^ Ashley (2007), p. 89.
  28. ^ Ashley (2007), p. 72.
  29. ^ Ashley (2005), p. 219.
  30. ↑ a b Ashley (2007), p. 90.
  31. ^ Ashley (2007), p. 84.
  32. ↑ Historical exchange rates. Retrieved January 16, 2018 .
  33. ↑ Historical exchange rates. Retrieved January 16, 2018 .
  34. ↑ a b c Ashley (2007), pp. 86-87.
  35. ^ Ashley (2007), p. 326.
  36. ^ Ashley (2007), p. 88.
  37. ^ Ashley (2007), p. 386.
  38. ↑ Ashley (2016), p. 441.
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