"Doorway Into Time" - читать интересную книгу автора (Moskowitz Sam)
Introduction Sam Moskowitz
Doorway Into Time C. L. Moore
A Logic Named Joe Murray Leinster
With Folded Hands Jack Williamson
The Command L. Sprague de Camp
Liar! Isaac Asimov
Before Eden Arthur C. Clarke
A Manor Book
First printing November, 1966
Second printing : : October, 1973
Manor Books Inc. 329 Fifth Avenue
New York, New York 10016
Library of Congress Catalog Card Number: 65-18008
Copyright, й, 1965, by Sam Moskowitz.
All rights reserved.
Published by arrangement with The World Publishing Company. Printed in the U.S.A.
To
WALLACE EXMAN
Who saw the possibilities
INTRODUCTION
MODERN science fiction, among the insiders in the field, is a phrase that refers to a readily identifiable change in the format of the science fiction story, which was begun in 1938 and was readily apparent by the middle of 1939. The revolutionary was John W. Campbell, who not only forcibly moved this branch of fiction in the direction in which he wanted it to go but under the name of Don A. Stuart had previously written prototypes of the kind of stories he had in mind.
Campbell's "Modern" (When "modern" is used in quotes at certain places in the text it is not intended to denigrate, but to recognize that "modem" science fiction is more than a quarter of a century old.) science fiction laid special emphasis on certain things:
The way stories were written. He demanded a much higher degree of sophistication in the average story he published than had generally been true of science fiction. This applied not only to the stylistic proficiency but also to the manner in which ideas were introduced. Indirection became a characteristic of the literary method of modern science fiction. It has been said, with some justice, that what science fiction called "good writing" merely followed the main-stream vogue of the thirties and that even today, 26 years later, "modern" science fiction reads more like the SATURDAY EVENING POST and COSMOPOLITAN of the depression era that avant garde fiction.
Greater emphasis on the psychological. How would the people of tomorrow's world be affected by the inevitable technological and social changes? What would their everyday behavior be like under such radically changed circumstances? What situations would provide drama in the innumerable fabricated futures to come?
The importance of philosophy on cultural action. Every civilization lives according to a certain firm or diffuse philosophy. Evaluation was to be given not only to the future philosophies of man, but to the bizarre and infinite hypothetical philosophies of alien creatures.
The exploration of the possibility of strange powers in various members of the human race. Most directly involved were humans who were a physical or mental mutation, but comprehensively telepathy, levitation, teleportation, telekinesis were embraced as well as the entire gamut of what have become known as Fortean phenomenaЧthe catalogue of inexplicable happenings which Charles Fort believed disobeyed the "laws" of science.
A broadening of the policies of science fiction to include not only social protest of politics, business, war and Western civilization's mores (to which it had always been receptive) but protest and criticism of religion, which had been, like sex, carefully sidestepped. Modern science fiction later extended its scope to cover sex, but not through Campbell, who did not care to run stories on that subject in the pages of his magazine.
This did not rule out the exploration of future technology, particularly atomic power, but such themes proved to be in the distinct minority. Science fiction became less interested in illuminating the road of science than in circling like a trapped moth around the hypnotic lure of literary pretension.
All these elements had been present in science fiction previously, but their appearance was haphazard. Campbell knew what goals he had in mind and the circumstances made it possible for him to get authors to conform to his desires.
Though there were many markets opening up for science fiction writers in 1939, as new titles multiplied, the country was still very much in a state of financial depression and an editor could command many willing typewriters. ASTOUNDING SCIENCE FICTION was the leading magazine in sales and prestige when Campbell took over. It consistently paid top rates (which was one cent a word and slightly up). While other science fiction magazines also listed one cent a word as their rate in WRITER'S DIGEST, it often was less for the longer lengths, particularly novels, and payment was not always on acceptance.
Campbell tirelessly fed writers ideas, not only for plots, but for unique approaches to a theme. He demanded and got elaborate rewrites. He also represented the largest monthly market for wordage, purchasing between ASTOUNDING SCIENCE-FICTION and a fantasy-oriented companion magazine, UNKNOWN, nearly 200,000 words. Pleasing Campbell was good business.
Campbell also had the good fortune to assume editorship at the very onset of a new wave of popularity for science fiction. The profitable sales of a magazine titled MARVEL. SCIENCE STORIES, whose first issue, dated August, 1938, I it appeared on the newsstands May 9, 1938) caused the pulp companies, who by and large were convinced that science fiction was not properly commercial, to take special notice. When AMAZING STORIES, the field's first magazine, beginning publication with its issue dated April, 1926, was sold to Ziff-Davis (June, 1938 issue), and quickly began to climb in circulation, the rush got underway.
All these factors made it possible for one man to shape the nature of the stories the science fiction writers would produce and thereby command the direction of the field. He gathered round him in only two years, a cadre of crack talent that a quarter of a century later would still be dominating the world of science fiction.
His loudest gun, however, was still the old-time favorite Edward E. Smith, Ph. D., who had created a sensation with The Skylark of Space in 1928, a story which moved science fiction out of the confines of the solar system, and whose Grey Lensman for ASTOUNDING SCIENCE-FICTION in 1939 presented a thrilling picture of an entire galaxy patrolled by a very special type of police.
The adaptable Jack Williamson, who had initially gained popularity imitating A. Merritt, proved he also belonged in the forefront of changing science fiction, but other than these veterans, the early phase of the science fiction revolution was predominantly the work of new recruits.
Campbell had been hired as editor of ASTOUNDING STORIES by F. Orlin Tremaine in 1937. Tremaine had taken control of the virtually defunct title in late 1933 and, in a brilliant drive, had made it the indisputable field leader by 1935. However, through 1936 and 1937 the average quality of the material not only declined, but frequently verged on dullness, though three authors discovered in 1937 and 1938ЧEric Frank Russell, L. Sprague de Camp and Lester del ReyЧwere to play an important part in the revival of science fiction. In 1939 Campbell discovered A. E. van Vogt, Robert A. Heinlein and Theodore Sturgeon, and took Isaac Asimov under his wing. These were to prove the real sluggers in his literary batting lineup.
While an occasional work by these men appeared else. where, Campbell generally got first look at everything and to all practical purposes had exclusive use of their talents. This scarcely disturbed the competition who had the' bulk of previous favorites to draw upon. If Campbell wanted to hold his fledglings to his bosom that was his affair. Other directions in science fiction were proving at least as profitable for them without all the effort Campbell was expending.
Leading contemporary science fiction magazines included AMAZING STORIES, now under the editorship of Raymond A. Palmer, hewing to a policy of elementary science fiction, simply told, with virtually no attempt at sophistication or a high order of originality. There was a market for such a magazine and it pushed ahead of ASTOUNDING SCIENCE FICTION in circulation.
When taunted by this fact, as a counter to the wisdom of his editorial stance, Campbell, instead of becoming disturbed, asserted that he was highly pleased. His claim was that ASTOUNDING SCIENCE FICTION was tailored for a more mature audience. It no longer published the elementary type of science fiction that could attract the youngsters. It was therefore essential that such magazines as AMAZING STORIES existed and prospered, he contended, because they would graduate readers to ASTOUNDING SCIENCE FICTION.
Just as medical specialists needed general practitioners to refer patients to them, ASTOUNDING SCIENCE FICTION needed publications featuring elementary stories with wide appeal to recruit new readership.
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