ABOUT
GALAXY
MAGAZINE
The first issue of
Galaxy
, dated October 1950, already heralded to the highest standards of the field. The authors it published regularly contributed to the leading magazine
Astounding
, writing a kind of elegant and humanistic science fiction which although not previously unknown had always been anomalous. Its founding editor, H. L. Gold (1914–1996), was a science fiction writer of some prominence whose editorial background had been in pulp magazines and comic books; however, his ambitions were distinctly literary, and he was deliberately searching for an audience much wider and more eclectic than the perceived audience of science fiction. His goal, he stated, was a magazine whose fiction “Would read like the table of contents of a literary magazine or
The Saturday Evening Post
of the 21st century, dealing with extrapolation as if it were contemporary.” The magazine, although plagued by distribution difficulties and an Italian-based publisher (World Editions), was an immediate artistic success, and when its ownership was transferred with the issue of August 1951 to its printer Robert M. Guinn, it achieved financial stability for the remainder of the decade.
Galaxy
published every notable science fiction writer of its first decade and found in many writers who would become central figures: Robert Sheckley, James E. Gunn, Wyman Guin, and F. L. Wallace, among others.
Galaxy
revivified older writers such as Frederik Pohl and Alfred Bester (whose first novel,
The Demolished Man
, was commissioned and directed page by page by Gold). John Campbell fought with
Astounding
and remained an important editor, and
The Magazine of Fantasy and Science Fiction
(inaugurated a year before
Galaxy
) held to high standards of literary quality while spreading its contents over two fields, but
Galaxy
was incontestably the 1950s’ flagship magazine for the acidly satiric, sometimes profoundly comic aspect of its best contributions.
Galaxy
had a lasting effect not only upon science fiction but upon literature itself. J.G. Ballard stated that he had been deeply affected by
Galaxy
. Alan Arkin, an actor who became a star after 1960 and won an Oscar in the new millennium, contributed two stories in the mid-fifties.
At this point Gold was succumbing to agoraphobia, physical ills, and overall exhaustion (some of this perhaps attributable to his active service during WWII) against which he had struggled from the outset. (There is creditable evidence that Frederik Pohl was the de facto editor during Gold’s last years.) Gold would return some submissions with notes like: “Garbage,” “Absolute Crap.” Isaac Asimov noted in his memoir “Anthony Boucher wrote rejection slips which read like acceptances. And Horace wrote notes of acceptance which felt like rejections.” Despite this, the magazine retained most of its high standard and also some of its regular contributors (William Tenn, Robert Sheckley, Pohl himself). Others could no longer bear Gold’s imperiousness and abusiveness.
ABOUT SCIENCE FICTION NOVELETTES AND NOVELLAS
In the view of James E. Gunn, science fiction as a genre finds its peak in the novella (17,500–40,000 words) and novelette (7,500–17,500 words). Both forms have the length to develop ideas and characters fully but do not suffer from padding or the hortatory aspect present in most modern science fiction novels. The longer story-form has existed since science fictions inception with the April 1926 issue of
Amazing Stories
, but
Galaxy
developed the form to a consistent level of sophistication and efficiency and published more notable stories of sub-novel length than any other magazine during the 50s…and probably in any decade.
The novella and novelette as forms make technical and conceptual demands greater, perhaps even greater than the novel, and
Galaxy
writers, under founding editor H. L. Gold’s direction, consistently excelled in these lengths. Gold’s most memorable story, “A
GALAXY
MAGAZINE
The first issue of
Galaxy
, dated October 1950, already heralded to the highest standards of the field. The authors it published regularly contributed to the leading magazine
Astounding
, writing a kind of elegant and humanistic science fiction which although not previously unknown had always been anomalous. Its founding editor, H. L. Gold (1914–1996), was a science fiction writer of some prominence whose editorial background had been in pulp magazines and comic books; however, his ambitions were distinctly literary, and he was deliberately searching for an audience much wider and more eclectic than the perceived audience of science fiction. His goal, he stated, was a magazine whose fiction “Would read like the table of contents of a literary magazine or
The Saturday Evening Post
of the 21st century, dealing with extrapolation as if it were contemporary.” The magazine, although plagued by distribution difficulties and an Italian-based publisher (World Editions), was an immediate artistic success, and when its ownership was transferred with the issue of August 1951 to its printer Robert M. Guinn, it achieved financial stability for the remainder of the decade.
Galaxy
published every notable science fiction writer of its first decade and found in many writers who would become central figures: Robert Sheckley, James E. Gunn, Wyman Guin, and F. L. Wallace, among others.
Galaxy
revivified older writers such as Frederik Pohl and Alfred Bester (whose first novel,
The Demolished Man
, was commissioned and directed page by page by Gold). John Campbell fought with
Astounding
and remained an important editor, and
The Magazine of Fantasy and Science Fiction
(inaugurated a year before
Galaxy
) held to high standards of literary quality while spreading its contents over two fields, but
Galaxy
was incontestably the 1950s’ flagship magazine for the acidly satiric, sometimes profoundly comic aspect of its best contributions.
Galaxy
had a lasting effect not only upon science fiction but upon literature itself. J.G. Ballard stated that he had been deeply affected by
Galaxy
. Alan Arkin, an actor who became a star after 1960 and won an Oscar in the new millennium, contributed two stories in the mid-fifties.
At this point Gold was succumbing to agoraphobia, physical ills, and overall exhaustion (some of this perhaps attributable to his active service during WWII) against which he had struggled from the outset. (There is creditable evidence that Frederik Pohl was the de facto editor during Gold’s last years.) Gold would return some submissions with notes like: “Garbage,” “Absolute Crap.” Isaac Asimov noted in his memoir “Anthony Boucher wrote rejection slips which read like acceptances. And Horace wrote notes of acceptance which felt like rejections.” Despite this, the magazine retained most of its high standard and also some of its regular contributors (William Tenn, Robert Sheckley, Pohl himself). Others could no longer bear Gold’s imperiousness and abusiveness.
ABOUT SCIENCE FICTION NOVELETTES AND NOVELLAS
In the view of James E. Gunn, science fiction as a genre finds its peak in the novella (17,500–40,000 words) and novelette (7,500–17,500 words). Both forms have the length to develop ideas and characters fully but do not suffer from padding or the hortatory aspect present in most modern science fiction novels. The longer story-form has existed since science fictions inception with the April 1926 issue of
Amazing Stories
, but
Galaxy
developed the form to a consistent level of sophistication and efficiency and published more notable stories of sub-novel length than any other magazine during the 50s…and probably in any decade.
The novella and novelette as forms make technical and conceptual demands greater, perhaps even greater than the novel, and
Galaxy
writers, under founding editor H. L. Gold’s direction, consistently excelled in these lengths. Gold’s most memorable story, “A
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