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In the first, a recently discovered cave in southern France is found to contain huge dinosaur eggs. Due to a variety of climatic and geologic factors, they have been perfectly preserved.

In the second story, a strange and unnatural fog suddenly envelops a geologist and a botanist while they are working near the Ardennes forest. They begin to explore and eventually encounter a tribe of winged prehistoric apes—a branch on the evolution tree never before suspected by modern Science. Suddenly attacked, the two scientists are forced to shoot one of these creatures who, before dying, grabs a gold pocketwatch dropped during the fracas.

The eerie fog then returns, and the scientists find themselves back in the 20th century once again, wondering if their experience had been some sort of strange hallucination. But nearby they come across the ancient remains of an anthropoid skeleton with a bullet hole in its skull and a fossilized gold pocketwatch grasped in its bony fingers. There are stories about new species of ocean life, like "Le Requin" n. There are stories of strange extrasensory phenomena and hynotized zombies like "Un Mirage" n.

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  • There are stories of mythological fantasy, like "La Mort et le coquillage" [ VI ], Death and the Shell where a musician puts his ear to a conch shell, is captivated by the strange ocean sounds he hears within it, and promptly dies for having listened to the voices of the Sirens, and like "La Cantatrice" [ MO ], The Soprano where a mysterious young opera singer with an incredibly lovely voice turns out to be a captured mermaid. And even the legend of the ghost ship known as The Flying Dutchman has its Renardian variants in stories like "Brouillard en mer" n.

    As most readers will immediately surmise, a great many of these short stories by Maurice Renard have been continuously recycled by authors of speculative fiction since the early decades of the 20th century. But two facts seem clear. First, if current Anglo-American science-fiction scholarship is to ultimately move beyond its own restrictive ideological and logocentric boundaries, it is imperative that more and better translations become available of foreign-language sf authors like Maurice Renard. As one critic has observed, he "is at the junction of two eras" Fauchereau, While his works of merveilleux scientifique may owe a great deal to the speculative fictions of H.

    Wells and J. Short stories. Paris: Plon, Signed with pseudonym Vincent Saint-Vincent.

    Edited by Lawrence Block

    Outremort and Other Strange Stories. The Tallendier edition includes Un Homme chez les microbes instead of the short stories. Co-authored with Albert Jean. Both reprints of this collection Paris: Tallendier, and Paris: Belfond, carry the original title, but do not contain the same short stories. The Ed. Many of the short stories in this collection were first published in La Petite Illustration in Reprinted posthumously in volume Paris: Tallandier, Collected and published posthumously in Romans et contes fantastique , Romans et contes fantastiques.

    Paris: Laffont "Bouquins," Cf Maxime Jakubowski , ; Everett F. Bleiler ; John J. All translations from the French are by the author unless otherwise stated. More on this later. Moreau leaves off. The brain transplants provide the occasion for reversals of roles and sexual conventions" , my translation. Cf Pierce, Foundations of Science Fiction , Cf Van Herp, Panorama de la science-fiction , Beliayev, Alexander.

    Doris Johnson. Russian Science Fiction.

    Robert Magidoff. Baronian, J. Paris: Stock, Baudou, Jacques. Bleiler, Everett F. By Bleiler. Le Papillon de la mort. By Maurice Renard. Paris: Nouvelles Editions Oswald, Branthomme, Michel. Bridenne, Jean-Jacques. Paris: Das-sonville, Special issue devoted to Maurice Renard. Clute, John, and Peter Nicholls. Clute and Nichols. Evans, Arthur B. Faucherau, Serge. Fontenelle, Bernard le Bouvier de.

    Paris: C. Blageart, Gardiner as Conversations on the Plurality of Worlds. London: Bettesworth, Gouanvic, Jean-Marc. McGill U, Jakubowski, Maxim. Neil Barron. NY: Bowker, Juin, Hubert. Paris: Belfond, Neveux, Pol. Quoted by Jacques Baudou. Pallander, Edwin. The Adventures of a Micro-Man. Pierce, John J. Great Themes of Science Fiction. Westport, CT: Greenwood Press, Foundations of Science Fiction.

    Campbell, changed its name to Unknown Worlds and published ten bedsheet-size issues before returning to pulp size for its final four issues. Amazing Stories published 36 bedsheet size issues in —, and its last three issues were bedsheet size, — Astounding Stories began in January [8]. Its most important editor, John W. Campbell, Jr.

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    Heinlein 's Future History in the s, Hal Clement 's Mission of Gravity in the s, and Frank Herbert 's Dune in the s, and many other science fiction classics all first appeared under Campbell's editorship. By , the pulp era was over, and some pulp magazines changed to digest size. Printed adventure stories with colorful heroes were relegated to the comic books. This same period saw the end of radio adventure drama in the United States. Later attempts to revive both pulp fiction and radio adventure have met with very limited success, but both enjoy a nostalgic following who collect the old magazines and radio programs.

    Many characters, most notably The Shadow, were popular both in pulp magazines and on radio.

    Short Stories for Kids - Short Kid Stories

    Most pulp science fiction consisted of adventure stories transplanted, without much thought, to alien planets. However, many classic stories were first published in pulp magazines. For example, in the year , all of the following renowned authors sold their first professional science fiction story to magazines specializing in pulp science fiction: Isaac Asimov , Robert A.

    Heinlein , Arthur C. These were among the most important science fiction writers of the pulp era, and all are still read today. After the pulp era, digest size magazines dominated the newsstand. The first sf magazine to change to digest size was Astounding , in [10]. Under the editorship of Cele Goldsmith , Amazing and Fantastic changed in notable part from pulp style adventure stories to literary science fiction and fantasy [11].

    Goldsmith published the first professionally published stories by Roger Zelazny not counting student fiction in Literary Cavalcade , Keith Laumer , Thomas M. Disch , Sonya Dorman and Ursula K. Le Guin [12]. There was also no shortage of digests that continued the pulp tradition of hastily written adventure stories set on other planets.

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    • Other Worlds and Imaginative Tales had no literary pretensions. The major pulp writers, such as Heinlein, Asimov and Clarke, continued to write for the digests, and a new generation of writers, such as Algis Budrys and Walter M. Miller, Jr. A Canticle for Leibowitz , written by Walter M. Most digest magazines began in the s, in the years between the film Destination Moon , the first major science fiction film in a decade, and the launching of Sputnik , which sparked a new interest in space travel as a real possibility. Most survived only a few issues.

      By , in the United States, there were only six sf digests on newsstands, in there were seven, in there were five, in only four and in only three. The first British science-fiction magazine was Tales of Wonder , [14] pulp size, —, 16 issues, unless you count Scoops , a tabloid boys' paper that published 20 weekly issues in It was followed by two magazines, both named Fantasy , one pulp size publishing three issues in —, the other digest size, publishing three issues in — The British science fiction magazine, New Worlds , published three pulp size issues in —, before changing to digest size [15].

      With these exceptions, the pulp phenomenon, like the comic book, was largely a US format. By , the only surviving major British science-fiction magazine is Interzone , published in "magazine" format, although small press titles such as PostScripts and Polluto are available. During recent decades, the circulation of all digest science-fiction magazines has steadily decreased.

      New formats were attempted, most notably the slick-paper stapled magazine format, the paperback format and the webzine. There are also various semi-professional magazines which persist on sales of a few thousand copies but often publish important fiction.