Analogies - A brief history of science fiction.

                            Analogies

                  Alexey PANSHIN, Corey PANSHIN

               A BRIEF HISTORY OF SCIENCE FICTION

   October 25, 1963 Hugo Gernsbeck, speaking to the public
MIT Science Fiction Fans,
said:

   "I can't stand it when pure fantasy is slipped into
to gullible readers as science fiction. In my opinion, this can- 
fraud. I read the collection "Nine Sciences" published in 1962. 
but science fiction stories - Hugo Award winners" and perceived 
took it as a personal insult. I would call this book like this: "Wo- 
seven fantasy tales and one science fiction story 
tale". 

   The term science fiction was invented by Hugo Ge-
rnsback. The Hugo Award, awarded annually at the World Con- 
vente for science fiction lovers, named after the same Hugo
Gernsback. And yet he disowned eight of the nine laureates 
prize named after him. These are the nine stories: “Darfsteller” Wal-
Tera Miller, "Alamagus" by Eric Frank Russell, "Explorer- 
"Sky Squad" by Murray Leinster, "Star" by Arthur C. Clarke, "Everything Otherwise 
the seas would be overflowing with oysters" Abraham Davidson, "The Vast 
courtyard" by Clifford Simak, "Hell Train" by Robert Bloch, "Color 
you are for Algernon" by Daniel Keyes and "The Longest Voyage" by Paul 
Anderson. 
   So, the riddle: which one?Are these stories true SF?
   One of five previously published in "Astounding" - SF magazine -
le for techies? Or is it "Exploration Squad" by Murray Leigh-
nster, whose story "The Runaway Skyscraper" was republished by "Amazing" 
from a 1919 issue of Argosy, which printed quite a few
works in Science Fiction+, the latest magazine that
Was Gernsbeck publishing in the 50s? Was it Clarke's "Star" that
Who did Gernsback call one of the most outstanding figures of true SF?
Or maybe it's Poul Anderson's "The Longest Voyage" - this
tale Hall Clement, a professional astronomer, praised the high
level of reliability of astronomical data?
   Personally, it seems to us that real SF is "Flowers for Algerno-
by" Daniel Keyes from Fantasy and Science Fiction. So we think 
tsya.
   But the point is not which of these stories can be considered
It's not SF, but the fact is that the remaining eight are not SF.
   By 1963, Gernsback had already formed a special opinion about the development
ties of the SF genre. Negative, of course: “Decadence!” Like Star-
John, who dealt harshly with 90% of the NF ("crap!"), Gernsback strictly 
condemned the same percentage of SF for belonging to indigestible fandom
theses (we doubt, however, whether 10% of Gernsback and Starjo would match
on?) 
   Science Fiction Writers Association of America - Heirs of Gernsbe-
ka - compiled an anthology of the best SF stories, stories that 
could beawarded the Nebula Award, if this award existed
continued until 1965. The book was called the "Science Fiction Hall of Fame"
ki". Its editor was Robert Silverberg, and it included stories 
songs considered the best in the history of the genre. In this anthology
the world's most revered SF authors and works were presented
nia. If 10% of the “best sf” according to Sturgeon really exists,
vuey, then they are the ones who ended up in this volume. It is unknown, however, many
whether of these stories Gernsbeck himself would agree to consider real
cabbage soup NF...
   Here's what Gernsback said in 1963:

  "In April 1926 I published the first issue of Amazing Stories,"
giving it the subtitle "Scientifiction magazine". Not exactly graceful 
ny term, perhaps, but even at that time - the time when SF only 
was born - I was firmly convinced that "Amazing" should become 
journal of scientific literature in order to separate SF from other genres. 
Then I added a slogan that better explained the very idea of SF - “Today- 
Nya is an extravagant fantasy, tomorrow is a well-known fact." 
1926 to 1929 - while I was publishing "Amazing" - both of these postulates 
appeared on the title of the magazine. For the first issue of "Science Wonder 
Stories", which was published in July 1929, I came up with another lo- 
zung - "Prophetic fiction - the forerunner of scientific fact." And me 
It seems that this slogan is still relevant today. NF - no matter how na- 
called - should affect first and foremostbasically the future. 
Science fiction exists so that, in the form of a story, 
a call to anticipate the coming miracles of progress. And this is nothing else 
how to study and use the properties of space and 
time..." 

   (However, of the three stories - “Star”, “Research-
body squad" and "The longest voyage" - at least two, 
or even all three, according to Gernsback, are not SF).

   "...The genre of Jules Verne and H.G. Wells has been distorted into the present
time to such an extent that even with great desire is that 
It's called SF, there's not a penny of science. Classic SF Verne and Well- 
lsa (with rare exceptions) was serious, instructive and edifying. 
dative It was not written for the fun and entertainment of readers - 
she carried information. This is where the difference between technological sci-fi and 
fantastic tales - fantasy. Or scientific - I emphasize: 
SCIENCE fiction - or fantasy. These genres are incompatible, they are not 
can coexist in one work..." 

   From the stories that were included in the SF Hall of Fame, Gernsbeck published
there is only one shaft, the earliest - "A Martian Odyssey" by Stanley Way -
nbaum (1934). What is it: scientific (with emphasis on the word scientific) 
sci-fi - or fantasy? According to Gernsback, they are incompatible...
   Here, for comparison, is a story in the genre of science fiction (“sa-
yentifikshn" by Gernsback) - "Sam Jones, radio bootlegger" Volney Ma- 
Tisona. Here's howGernsbeck presented this story to readers: 

   "The story of the cruel days when radio is used for personal gain"
good purposes, and some turn it into evil, experimenting on 
unsuspecting people. Even if all this is fiction, 
thought well enough to teach users a thing or two and 
buyers of radio equipment." 

   Whatever this story may be, it is not at all like "A Rose for
Ecclesiastes" by Zelazny, "The Coming Enchantment" by Leiber, "Born 
a man and a woman" by Richard Matheson or "A Martian Odyssey" 
the same Weinbaum.
   If Gernsback is right - and we must agree with him, because
but he defined SF as a genre - when, in this case, fake
Has SF begun to supplant true SF? When did this happen?
   A little history.
   Gernsback founded Amazing Stories magazine in April 1926.
Then he had the same point of view regarding SF as continued
I tried to stick to it in 1963. In the very first issue he transported
said that SF should predict, teach and not betray
empty fantasies.

   "A science fiction story should be three-quarter
half of it is literature and a quarter is science." 

   Another quote:

   "Science fiction is America's new powerful force. Science fiction stories
Everyone is discussing it: inventors, scientists and schoolchildren. Teachers recommend 
share these stories with students, as they greatly expand 
outlook of youth. Wise parentsallow their children to read 
NF, knowing that it will help them keep up to date with the latest developments 
science, will teach you a lot, and, most importantly, will protect you from being filled with sex 
and the cruelties of pulp literature." 
   Hugo Gernsbeck knew how to present his ideas. One of his journals
Nalov even held a letter competition on the topic “What does it mean to me?”
science fiction? 
   Edward E. "Doc" Smith received Second Class Honorable Mention.
who wrote that “for a scientist there is no literature more
more therapeutic than well-written and carefully thought out SF." 
   Jack Williamson received a first-degree review: “Nothing is coming.”
new era... Science will respond to the challenge with thousands of inventions, inspired 
new SF". 
   First place in this competition was taken by B.S. Moore (unlike Smee-
that and Williamson, he was not a writer). Moore wrote this: 
   "A few months ago I couldn't understand what four-
three-dimensional space from the point of view of science. Now I understand it 
(of course, theoretically) - solely thanks to SF. Yes, yes 
Naturally, each author has his own approach to scientific theories, but 
by comparing their points of view, carefully weighing, everyone can agree 
present acceptable explanations for yourself." 
   Gernsbeck wanted to call his magazine "Scientifiction", but "then
le sober thoughts publisher (i.e. Gernsbeck himself - A.P., K.P.) 
decided that the title "Amazing Stories" would be more attractive 
for the massesAfter all, everything related to science seems too 
difficult for the average reader." 
   Gernsbeck published SF since 1908 in various magazines: in Radio
News" (where "Sam Jones, radio bootlegger" was published), 
"Science and Invention". The latter was a magazine like "Popular" 
Mechanics", but much more interesting, more entertaining. "Science and 
Invention" published scientific forecast articles and their fiction 
some equivalents. Gernsbeck printed Edgar Allan Poe - "the father of science"
science fiction", Jules Verne ("He predicted the design of modern 
replacement submarine down to the last screw!"), Wells. 
   Gernsbeck also published his own stories, thereby laying the foundation
a tradition followed by almost all editors after him.
So he published his “Magnetic Storm”, “Electric Duel”,
the stories "Ralph 124C 41+" and "The Scientific Adventures of Baron Munchgau-
Xena." 
   He reprinted stories by authors such as Murray Leinster from
adventure magazines. He published reprints from Science
and Invention" and sometimes reprints of reprints. 
   Gernsbeck brought to light new authors such as David Keller,
Harl Vincent, S. P. Meek, Ed Earl Repp, A. Hiatt Verrill and Stan- 
tone E. Koblenz - now they are all almost forgotten. Basically they pi- 
talked about future discoveries and inventions.
   The most famous work, published for the first time in "Amazing"
(unlike many others, the author of thisthe novel is not forgotten) - "Kos-
mic lark" by Edward E. Smith, the story of the first 
expeditions to the stars. Here's what Gernsback wrote about her:

   "The most inventive plot, exciting and exciting adventures -
knowledge, plus love, adventure and a good dose of science - all this 
thrown in picturesque disorder across the pages of this work - 
nia". 

   And further:

  "When you finish reading The Lark, you will agree with us:
this is one of the most outstanding works of science fiction 
over the past decade." 

   And again I want to ask: when did Gernsback’s dream of
predictive, educational and edifying fiction? When
Science fiction turned into "indigestible fantasy"?
   From April 1926 to 1929, Gernsback had no competitors. He
was the only publisher of SF. He - and no one else - established
shaft rules of the game. He defined what SF is and showed what
it exists (he chose the stories, naturally, to his taste). From July-
Between December 1929 and December 1929, he published two new SF magazines.
   "Amazing" continued to be published, which was first edited by
was listed as Arthur T. Lynch, and after November as T. O'Conor Sloane (who
de facto edited the magazine under Gernsback).  "Amazing" iso
tried his best to implement Gernsbeck’s behests by publishing Jules Ver-
on, David Keller, Harl Vincent, S. P. Meek, Bob Olsen, 
Stanton Coblentz and Claire Winger Harris.Gernsbeck began publishing two more magazines: Science Wonder
Stories" and "Air Wonder Stories". The motto is "Air Wonder Stories" 
There was a saying: “The future of aviation is born of the imagination.”
I'm eating." The stories were "...EXCLUSIVELY about future flights, scientific- 
technically and mechanically reliable, full of adventures and achievements 
and discoveries."  "Air Wonder" went bankrupt very quickly, and in 1930 
Gernsbeck combined two magazines into one - "Wonder Stories". B 
this magazine published the same H.G. Wells, David Keller, S.P. Meek,
Stanton Coblentz, Ed Earl Repp, A. Hiatt Verrill and Claire Winger 
Harris. 
   So, already in 1929 the possibility of the existence of fan
tasticity that does not correspond to Gernsback's definition. Two came out
magazine - and the points of view of their editors on SF may not be entirely
mouth
   One of the editors is T. O'Conor Sloan, born in 1851. He
became editor of Amazing when he was already in his late eighties. And
this white-bearded old man published "Amazing" until 1938.
   Sloan, like Gernsback, grew up in the Age of Invention. His son was
married to the daughter of Thomas Edison. One might assume that
the ideas and tastes of Gernsback and Sloan would coincide, but alas: Sloan was not
True Believers. It is known that he did not believe in space flight
- which, however, did not stop him from publishing stories about them. When
Naturally, he considered it all a pure play of the imagination.
In 1930 Sloanpublished the first works of John Campbell,
including the novel "The Black Star Is Coming". He typed "Destroy-
Ley of the Universe" by Edmond Hamilton, and the second novel by Edward E. Smee- 
ta "Space lark three". 
   Was this real SF or fantasy in disguise - like
similarity of prize-winning stories branded by Hugo Gernsback
his name? Sloan did not know, and did not understand it. If only he
I really wanted to find out, he would have asked Gernsback, the only one
the keeper of the keys to the gates of the kingdom of true SF. But weak
I believe Sloan did this at least once.
   In January 1930, "Amazing" had a rival - the magazine
"Astounding Stories of Super-Science" edited by Harry Bate- 
sa. "Amazing" and "Science Wonder" were aristocratic magazines: in 
in the best of times they were printed on good paper, in great re-
cable format. And the newcomer "Astounding" was one of the generation
adventure magazines. It was published on cheap paper and in
standard format for mass magazines. It looked simpler and was
not so instructive.
   Harry Bates was skeptical of Gernsback:

   “Oh, this “Amazing Stories”! I once bought a copy.
Rare nonsense! Mountains of trivialities, sheer nonsense written 
people who don't have an iota of imagination!" 

   Same Bates:

   "I went through a hundred possible magazine titles. I mostly...
I liked it"Tomorrow", but I didn't even show this version of Glue- 
tone [William Clayton - owner of Publishers Fiscal Corporation 
(later renamed Clayton Magazines), which published
"Astounding" before 1933 - Ed.], as "Tomorrow" ("Tomorrow") -
The name is too vague, indefinite, cutesy. Next 
the option was "Science Fiction". There was also an indication of the genre, 
and dignity, but I gave up this thought too: the term had not yet been 
widely known (“Amazing” prefers the creepy neologism 
"scientifiction") and the reader can assume that he has been slipped 
they tell orthodox, colorless stories about current science. Third 
The option I settled on is “Astounding”. Yes, the name 
of course, not entirely aristocratic, but perky and attractive 
attention. Plus it sounds similar to "Amazing" and hopefully 
will also attract his readers. 
   I'll never forget Clayton reading my list of titles.
out loud, tasting each one. I'm not sure what the second part is called 
niya was determined that same morning, but I can also explain why 
we chose "Super-Science".  I agree, it sounds a bit 
vulgar, but the hit is accurate. Superscience is much more 
than just science. This is something beyond science. We immediately discarded this 
convention. 
   To be honest, early SF had almost nothing to do with that
the science that scientists do. If the authors knew aboutlatest 
achievements of science, had more specific scientific knowledge, and even 
if we tried to strictly adhere to all this, then I generally doubt 
I don't think they would have written anything truly fan 
tastic. In fact, almost everything that is considered SF is nothing. 
nothing more than fantasies that have no relation to real science. This- 
they already agree with this for an hour, but imagine what would happen if 
I stated this several years ago? Does anyone really think that this 
hour in SF more science than then? Yes, it is written better, it gives 
more food for thought, but what does science have to do with it? Let's get this over with and 
Long live the saving Superscience! 

   And further:

   "Some readers are demanding that stories be published in Astounding
the same kind that prints "Amazing", but it is absolutely clear to me 
that most of our audience will not accept this. Stories from 
"Amazing" - is it a classic? I willingly believe it, but if you want, I’ll open it 
secret? At one time I tried to develop a hybrid story with the best 
qualities of "Astounding" and "Amazing", but - alas! It turned out that they 
incompatible..." 

   So, two out of three votes are against Gernsback. One editor
T. O'Conor Sloan doesn't even know exactly what SF is. Other - 
Harry Bates - believes that SF is... fantasy. 
   By 1936 "Astounding" (edited by F. Orlin Tremayne)
published monthly. "Amazing" - once every two months. In the same year
Gernsbacksold "Wonder Stories" to Standard Magazine, publisher 
vavshaya "pulp" - magazines are simple and cheap. In short, the idea
Gernsback about the essence of SF worked only until it 
there were alternatives. As soon as competition appeared, Gernsback pro-
was burning.
   Let us remember the words of Gernsback. NF - serious, instructive and
educational. It was not created to entertain or
surprise. It carries knowledge, and this is precisely the difference between techno-
logical SF and fantasy. Either it's science fiction or it's fan-
theses, it is impossible to combine these two genres.
   Science fiction of the 20s (when Gernsback ruled the roost) would-
la science fiction that predicts great discoveries (like, say,
"Ralph 124C 41+"). Such fiction was written by David Keller, Bob 
Olsen, Claire Winger Harris and Ed Earl Repp. 
   Pseudo-SF of the 30s (when it was already out of the control of Ge-
rnsbeka) existed to surprise and entertain. It was printed in 
"Astounding" by Edward E. Smith, John Campbell, Murray Leigh 
nster, Jack Williamson. Their works are exuberant supra-scientific 
fantasy. These are fantasies of abstract science. Campbell started writing
them under the pseudonym Don A. Stewart and continued to do so, already
Duchi editor of "Astounding".
   On July 15, 1970, the first issue of the Library Jornal appeared.
bibliographic journal of SF, published by the Association of Writers
ley-fantasists of America. Recommendation listfiction, written
chatted in this issue was compiled by Alexey Panshin on his own
natural materials, as well as materials from James Blish, L. Sprague
de Camp, Damon Knight, Andre Norton, Joanna Russ, Robert Seal- 
Verberg and Jack Williamson. This list can be thought of as 
indicator of what kind of SF interests working writers
lei-fantasists.
   The bibliography lists sixty-two science fiction books.
novels published since 1926 (when Gernsbeck began publishing
"Amazing") Of these, thirty-two were partially or completely
published in SF journals. None of them were printed by Hugo
Gernsback. 
   The earliest novel is "Space Legion" by Jack Williamson -
published in Astounding in 1934. The nine oldest rom-
new (those published before 1948) were published either in
"Astounding", or in "Unknown". This is "The Barrier of Evil" by Eric Frank. 
Russell, "Don't let the darkness fall" L. Sprague de Camp, "The Gray Lensman" 
Edward E. Smith, "The Half-Educated Wizard" by Fletcher Pratt and L. Sprague 
de Campa, "Slan" by A. E. Van Vogt;  "Over There" by Robert High 
online, “The Witch Wife” by Fritz Leiber and “The World of Null-A” by Van Vogt. 
Which of these classics would Gernsback recognize as SF, and which would he curse?
fantasy?
   The history of SF is short - from April 1926 to December 1929.
Gernsback era.
   But it would be more honest to say that SF (as Gernsback understood it)
when and notexisted. The dream did not come true, did not come true.
And the main blame for the fact that SF turned into fantasy - in fact
Gernsbeke. 
   Gernsbeck named his magazine "Amazing" rather than "Scientifiction"
- and this concession became fatal. Gernsback himself not only published
opera "The Space Lark", but he also praised it very much - her, typically
new fantasy!
   He published Hamilton's story "The Curse of the Comet" - the same
fantasy, such as Hamilton published in Weird Tales. He typed
Burroughs' "The Great Intelligence of Mars", annotating it as "a new, full- 
novel of adventure and science." And in his last journal 
Science Fiction+ Gernsbeck published two stories by Harry Bates. 
Yes, yes, that same Bates!
   So, either Gernsback himself was unable to distinguish SF from fantasy,
or he, making a compromise, published fantasy, while declaring
everyone heard about the love of scientific fact, or he had a specific
technical understanding of science. And that's probably why "Science Wonder"
Stories" - the last refuge of SF - was equally short-lived and 
not a viable magazine, just like Air Wonder Stories.
   Gernsback has only one victory to his name. Although the idea, in his opinion,
nyu, and distorted, the name of the genre stuck. In 1932 "Amazing"
changed the subtitle to "Science Fiction Magazine".  "Astounding
Stories" became "Astounding Science Fic" in 1938. 
tion". 
   The term survived because it was clear, relativelyflexible and
Sounding pretty solid. This respectability, however, was
transitional - but it depended on the case. Atomic prediction
bombs, for example, attracted the attention of people who were not more serious than
it happens...
   Nowadays the NF no longer needs respectability. Books and books
tales, bibliographies of Hugo and Nebula Award winners, vols.
series "Science Fiction Hall of Fame" are all sufficient grounds
for self-affirmation. Our self-affirmation is based on
that fiction is a form of art, an amazing and exquisite way
to talk about us, about our feelings and sensations. Science,
predictions and foresight have nothing to do with it. And despite
the fact that a lot has already been achieved, that there are significant re-
results - the best is yet to come.
   Even with a cursory glance at the genre, it is clear that the term "SF" cannot
can cover the entire range of fiction. In 1963 Gernsbeck was
right We need to face the truth. We are disgracing his name. We are dey-
Indeed, deceivers who breed fantasy.
   As Sam Moskowitz said: "The real father of science fiction is
Hugo Gernsback, and no one can take that title away from him." 
   SF was Gernsback's dream. Let's ceremoniously bury her next to
him.

                                           Translation from English
                                                Elena Buklersko