In August the following year the schedule switched to monthly. Davidson gave up the editor's chair in late in order to have more time to write, and was initially replaced by Joseph Ferman, who handed over control to his son Edward from May , though the masthead did not reflect the change till In Gordon Van Gelder took over as editor, and from the February issue was publisher as well, having bought the magazine from Ferman. Van Gelder reduced the publication frequency to bimonthly, increasing the page count and price.
Boucher and McComas's original goal for the new magazine was to imitate the formula that had made Ellery Queen's Mystery Magazine successful: classic reprints, along with quality fiction that avoided the excesses of the pulps.
Even before the launch, the editors found they were having trouble deciding exactly where the boundary lay, so when in February Joseph Ferman, Spivak's general manager, asked them to add sf to the lineup as a way to broaden the readership, they were happy to comply. The interior layout was quite different from the existing fantasy and sf magazines: there were no interior illustrations, and the text was printed in a single column, instead of two as was usual elsewhere. There was a book review column, but no letters page.
When the second issue appeared, with the title revised to include "Science Fiction", there was no announcement of the change, and not much more science fiction than in the first issue. Over the next few years several writers became strongly associated with the magazine, including Margaret St. Clarke , Fritz Leiber , and Ray Bradbury. Fletcher Pratt and L. The focus was on short fiction; serials and novels were mainly avoided. Miller , who had been unable to sell it elsewhere, and printed it in the April issue; it was the first story in the series that would become the novel of the same name , and has since become recognized as a classic of the genre.
A controversial article by the astronomer R.
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Richardson titled "The Day After We Land on Mars" appeared in the December issue; [note 3]  Richardson commented that an exploration of other worlds would require "the men stationed on a planet [to be] openly accompanied by women to relieve the sexual tensions that develop among normal healthy males". DeFord argued that Richardson was assuming that women were not people in the same way as men, and the controversy has since been cited as part of the long debate within the genre about the image of women in science fiction. It won the Hugo Award in the novel category the following year, and proved to be one of Heinlein's most controversial books.
Among the cover artists in the first decade, sf historian and critic Thomas Clareson singles out the early astronomical scenes by Chesley Bonestell as being the most notable; these were among the first to replace George Salter's surreal artwork on the cover.
He published two "author special" issues: Theodore Sturgeon was featured in the September issue, and Ray Bradbury in May Joseph Ferman's son, Edward Ferman, was managing editor during Davidson's tenure as editor. When Davidson left, Joseph Ferman took over the editorial chair, but in reality Edward Ferman was doing all the editorial work, and by the May issue was in full control of the magazine.
Grant and Stephen King. Lafferty , Harvey Jacobs, and others. Harlan Ellison and James Tiptree, Jr. Other award-winning stories from Ferman's first decade and a half included Fritz Leiber's "Ship of Shadows" in , " Ill Met in Lankhmar " in , and " Catch That Zeppelin " in ; all three won Hugos, and the latter two also won Nebulas. Judith Merril took over the book review column on Davidson's departure, and was followed by James Blish in and Algis Budrys in , with frequent contributions from other reviewers such as Joanna Russ and Gahan Wilson.
Delany , commenced in ;  Baird Searles contributed the column between and The launch of Omni in also had an impact. Initially this category was dominated by Ben Bova , the editor of Analog , but Ferman won it for three more years at the start of the s. A newer group, including Joanna Russ and R. Lafferty, had become regulars more recently. Gotschalk , whose unusual stories were described by Ferman as "a step ahead of most SF writers or perhaps he's marching in a different direction ".
When Rusch took over as editor, Isaac Asimov had been writing the science column for over three decades, and Algis Budrys had been contributing a book review column since ; in Asimov died and Budrys departed. The science column ran for consecutive issues, ending in February Asimov's widow, Janet Asimov , wrote another essay for the December issue, based on her conversations with her husband before his death, and a final essay appeared in January , containing material from the book Yours, Isaac Asimov: A Lifetime of Letters.
Van Gelder printed more fantasy and less hard science fiction than had Rusch, and in Ashley's opinion he was able to "restore some of the magazine's distinctiveness". As a result of the switch to bimonthly in , with the resulting higher page count in each issue, the magazine began to publish longer stories. Ashley describes it as bridging "the attitude gap between the slick magazines and the pulps"', and argues that it made the genre more respectable.
Mencken 's American Mercury , which had been successful and widely respected as a literary review. As of March , the editorial succession is as follows: . It has been in digest format since the beginning. The publisher was initially Fantasy House, a subsidiary of Mercury Press; from March the publisher was listed as Mercury Press instead.
In , Martin H.
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Links Wikipedia. Publisher website. Series description Began publication in fall The title of the first issue was The magazine of fantasy An index of covers for this magazine can be found at Visco. Montezuma Strip. Laurel Winter. Mary Rosenblum.
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