SF MAGAZINES

   Sf stories were a popular and prominent feature of such general-fiction PULP MAGAZINES as The ARGOSY and The ALL-STORY during the first quarter of the 20th century. They were not, however, known as sf: if there were any need to differentiate them, the terms SCIENTIFIC ROMANCE or "different stories" might be used, but until the appearance of a magazine specifically devoted to sf there was no need of a label to describe the category. The first specialized English-language pulps with a leaning towards the fantastic were THRILL BOOK (1919) and WEIRD TALES (1923), but the editorial policy of both was aimed much more towards weird-occult fiction than towards sf.As specialized pulps became common it was inevitable that there would be one devoted in some fashion to sf; it fell to Hugo GERNSBACK actually to publish the first such magazine (if we discount the "Twentieth Century Number" [June 1890] of the OVERLAND MONTHLY). Gernsback's SCIENCE AND INVENTION consistently published much sfamong its otherwise nonfiction articles, and in Aug 1923 had a special issue devoted to "scientific fiction"; in 1924 he solicited subscriptions for a magazine to be called Scientifiction. This did not materialize, but two years later (Apr 1926) \#1 of AMAZING STORIES appeared. Gernsback's coinage, SCIENTIFICTION, reflected his particular interest in sf as a vehicle for prediction and for the teaching of science. In a magazine which featured both Jules VERNE and Edgar Rice BURROUGHS, it was a label that fitted the former's stories far more readily than the latter's.AMZ was somewhat different in appearance from the usual pulp magazines, which measured approximately 7in x 10in (20cm x 30cm) and were printed on poor-quality paper with rough, untrimmed edges. AMZ adopted the larger BEDSHEET size (approx 81/2in x 111/2in [24cm x 32.5cm]) and its pages weretrimmed. The reason for this may have been to give an impression of greater respectability in order to have the magazine displayed on newsstands with the more prestigious "slick" magazines; certainly this was the result. The attempt at dignity was belied by the garishness of some of Frank R. PAUL's cover art, while the magazine's editorial matter had astuffy, Victorian air. However, AMZ proved initially successful; according to Gernsback in the Sep 1928 issue, 150,000 copies were printed monthly, although "Very frequently we do not sell more than 125,000 copies". The same issue gives a clue to AMZ's readership; of 22 letters printed, 11 are avowedly from high-school pupils. It was through the letters column of AMZ and later magazines that sf FANDOM began.When Gernsback lost control of AMZ in 1929 through bankruptcy it remained in the hands of his assistant,the venerable T. O'Conor SLOANE, and changed little, while the new magazines which Gernsback then started - AIR WONDER STORIES and SCIENCE WONDER STORIES - adopted the same format and were very much the mixture asbefore. In fact, including AMAZING STORIES QUARTERLY and Science Wonder Quarterly (later WONDER STORIES QUARTERLY), Gernsback started not just thefirst English-language sf magazine but the first five. It is not surprising that the limited Gernsbackian view of sf gained a strong hold. The emphasis on "science" in the category label (either "scientifiction"or "science fiction"), often quite inappropriately, is a legacy of this.The first challenge to Gernsback's view of sf magazine publishing came in 1930 with the appearance of Astounding Stories of Super-Science (ASTOUNDING SCIENCE-FICTION). ASF belonged to the large Clayton magazinechain, and was unequivocally a pulp magazine. Its editor, Harry BATES, was unimpressed by Gernsback's achievements ("Packed with puerilities! Written by unimaginables!" was his later assessment of AMZ), and ASF's priorities were adventure first and science a long way second. Aficionados of AMZ were, in turn, unimpressed by ASF's vulgarity, and certainly the Clayton ASF produced vanishingly few stories of enduring quality. However, thesame is true of its competitors.Air Wonder and Science Wonder soon amalgamated into WONDER STORIES; with minor exceptions (in 1931 MIRACLE SCIENCE AND FANTASY STORIES published 2 issues; in 1934 thesemiprofessional MARVEL TALES began its short life), AMZ, ASF and Wonder Stories constituted the US sf-magazine field until 1939. Interestingly,not one of them finished the decade under the same ownership it had had at the beginning. ASF was initially the only sf magazine belonging to a pulp chain; when it was sold to another group, STREET \& SMITH, in 1933, it was because of the collapse of the whole Clayton chain. The magazine itself had been quite successful, if undistinguished in content; under its new management and new editor F. Orlin TREMAINE it went from strength to strength, its popular success matched by a notable increase in quality. It had the advantage of paying considerably better than its sf competitors (one cent a word on acceptance, rather than half a cent a word onpublication or later - "payment on lawsuit" as the saying had it). Even so, ASF's payment rates were only half what they had been in its Clayton days, and represented the lowest standard pulp rates; it was a question of the other sf magazines' paying very badly rather than ASF's paying particularly well. This had obvious repercussions on the quality of the writers prepared to contribute. Authors who could sell their work to Argosy for six cents a word were not going to favour the sf magazines withanything other than their rejects. More importantly, the prolific professional pulp writers, turning out hundreds of thousands of words each year in any and every category, never made the sf magazines their chief focus of attention. The adverse result of this was that the sf magazines published a great deal of material by writers ignorant even of the minimal standards of professionalism of the pulp hack (hence Bates's dismay with AMZ), but in the longer term the advantage was that the field was able todevelop itself from within. Fans of the magazines believed, with justification, that they could do as well as the published writers. They tried; a proportion of them succeeded. Jack WILLIAMSON, an early example of such a writer, describes in The Early Williamson (1975) how he received little useful encouragement from Gernsback and Sloane; things changed when ASF under Tremaine became the first sf magazine with a dynamic editorialpolicy. It reaped dividends.While ASF prospered, its competitors floundered, losing their better writers and failing to replace them. By the end of 1933 both AMZ and Wonder Stories had adopted the standard pulp format. By the end of 1935 both had gone over to bimonthly publication (the same year that ASF was contemplating twice-monthly publication). In1936 Wonder Stories was sold, reappearing after a short gap as THRILLING WONDER STORIES with a change of emphasis epitomized by the BEMS (bug-eyed monsters) on the cover of \#1; AMZ followed suit in 1938.The failure of the sf magazines to establish themselves as a healthy pulp category in the 1930s is surprising in that, during that decade of the Great Depression,the pulps provided cheap entertainment and were thus generally popular. As a comparison, the far more specialized, peripherally associated field of "weird menace" pulps (as described in The Shudder Pulps [1975] by RobertKenneth Jones) - i.e., magazines devoted entirely to stories in which apparently strange happenings turned out to have mundane explanations - was thriving, with such titles as Dime Mystery Magazine, Horror Stories, Terror Tales and Thrilling Mystery. The only sf magazine to establishitself on a regular monthly basis was also the only sf magazine with which Gernsback had never been associated, which suggests that Gernsback'sconception of sf, and of sf-magazine publishing, failed to capture the audience it sought. The emphasis of the early sf magazines on MACHINES, as represented by Paul's cover art, may have alienated as many readers as it attracted.The first boom in sf-magazine publishing came towards the end of the 1930s. In 1938 MARVEL SCIENCE STORIES became the first fully professional new title since Miracle in 1931; it gained some notoriety by trying briefly to introduce to sf a little mild lasciviousness of the kind common in other pulps. In 1939 it was followed by a rush of new titles. AMZ and TWS had both proved successful enough under new management andwith a more lively approach to give birth to companion magazines, FANTASTIC ADVENTURES and STARTLING STORIES respectively. John W. CAMPBELLJr, who had become editor of ASF late in 1937, began in 1939 a fantasy companion, UNKNOWN, as well as printing during that year the first stories by Robert A. HEINLEIN, Theodore STURGEON and A.E. VAN VOGT, which heralded the start of ASF's greatest period of dominance. Other new magazines of 1939 were DYNAMIC SCIENCE STORIES, FUTURE FICTION, PLANET STORIES, SCIENCEFICTION, STRANGE STORIES and the reprint magazine FAMOUS FANTASTIC MYSTERIES. In 1940 ASTONISHING STORIES, CAPTAIN FUTURE, COMET, SCIENCE FICTION QUARTERLY, SUPER SCIENCE STORIES and the reprint FANTASTIC NOVELS came along; in 1941 COSMIC STORIES and STIRRING SCIENCE STORIES made their appearance. However, this was not quite the flood it might seem. The economics of magazine publishing meant that when a bimonthly magazine was successful it was often better to start a companion title in the alternate months than to switch to monthly publication. In this way the magazines gained twice as much display space and twice as long a period on sale, while the publisher could hope for an increased share of the total market through product diversification. So Startling Stories was paired with TWS (although TWS went monthly in 1940-41), Marvel Science Stories withDynamic Science Stories, Astonishing Stories with Super Science Stories, Cosmic Stories with Stirring Science Stories and Future Fiction with Science Fiction. Nevertheless, much more sf was needed each month, most of it paid for at minimal rates (if at all), and many young sf fans were able to gain invaluable early experience as writers or editors. Asimov, James BLISH, Damon KNIGHT, C.M. KORNBLUTH, Robert A.W. LOWNDES, Frederik POHLand Donald A. WOLLHEIM - all FUTURIANS - launched their careers in this period.Inevitably, the boom oversaturated the market: some of the new titles published only 2-3 issues. US involvement in WWII, with consequent paper shortages, took its toll of other titles. By the middle of 1944 all but 4 of the new titles had disappeared; nevertheless, these had all established themselves, and for the duration of the 1940s there were 7 regular sf magazines: AMZ, ASF, Fantastic Adventures, Planet Stories, Startling Stories, TWS and Famous Fantastic Mysteries, the latter still areprint magazine. ASF was in a different class from the others in terms of both quality and appearance. In 1943 it changed to DIGEST size (approx 51/2in x 71/2in [14cm x 21.5cm]), anticipating the general trend of the1950s. Discovering a serious adult readership for sf - and discovering and developing the writers to provide appropriate stories - it changed its appearance until it looked as different as possible from the sf pulps, often seeming deliberately to cultivate a drab look. In the early 1940s Startling Stories and TWS aimed themselves overtly at a juvenile audience- perhaps recognizing their readership for what it was (although later, under the editorship of Sam MERWIN Jr, the standard soared, until by 1948 Startling Stories represented the closest challenge to ASF). Their coverart, largely the work of Earle K. BERGEY, typified the drift away from the appeal of futuristic technology - scantily clad girls threatened by monstrous aliens promised more undemanding entertainment, and evidently provided the necessary sales appeal to sustain the enlarged market. Planet Stories was more garish still, the epitome of SPACE OPERA. The ZIFF-DAVISmagazines AMZ and Fantastic Adventures appeared crude, but prospered under the editorship of Raymond A. PALMER. AMZ, especially, grew huge (a peak of 274pp in 1942). Palmer showed a shrewd ability to tap the market foroccultism and PSEUDO-SCIENCE, using in particular the allegedly factual stories of Richard S. SHAVER to attain for AMZ (he claimed) the highest circulation ever reached by an sf magazine.New magazines began to appear again in 1947-8, although at first they were either reprint-inspired (AVON FANTASY READER, ARKHAM SAMPLER(which also published originalstories), though in fact reprints only comprised about 25% of an issue, the revived FANTASTIC NOVELS) or of only SEMIPROZINE (i.e., semiprofessional) status (FANTASY BOOK). They were followed in 1949 by A. MERRITT'S FANTASY MAGAZINE, the revived Super Science Stories and OTHERWORLDS SCIENCE STORIES. However, the significant development of the period was the appearance in 1949 of The MAGAZINE OF FANTASY AND SCIENCE FICTION , followed in 1950 by GALAXY SCIENCE FICTION. Both magazines originated indigest format, and from their inception were aimed at the adult audience which ASF had shown existed. Campbell's ASF was by this time showing evidence of stagnation, and both FSF, with its emphasis on literary standards, and Gal, which concentrated on the SOFT SCIENCES and SATIRE, appeared more sophisticated; they quickly established themselves alongside ASF, so that these three became the leading magazines - a situation which,generally speaking, continued until the late 1970s.New and revived magazines continued to appear in profusion, and to disappear almost as regularly. They included: Future Combined with Science Fiction Stories, IMAGINATION, Marvel, OUT OF THIS WORLD ADVENTURES, TWO COMPLETESCIENCE-ADVENTURE BOOKS and WORLDS BEYOND in 1950; IF and Science Fiction Quarterly in 1951; DYNAMIC SCIENCE FICTION, FANTASTIC, SCIENCE FICTION ADVENTURES, SPACE SCIENCE FICTION and SPACE STORIES in 1952; BEYOND FANTASY FICTION, FANTASTIC UNIVERSE, FANTASY MAGAZINE, ORIGINAL SCIENCE FICTION STORIES, SCIENCE FICTION PLUS and UNIVERSE SCIENCE FICTION in 1953; IMAGINATIVE TALES in 1954; INFINITY SCIENCE FICTION in 1955; SATELLITE SCIENCE FICTION, SCIENCE FICTION ADVENTURES (the 2nd magazine of this title) and SUPER-SCIENCE FICTION in 1956; and DREAM WORLD, SATURN and VENTURE SCIENCE FICTION in 1957. From this plethora of new titles, thegroup of magazines ed Robert A.W. Lowndes - Future, Original and Science Fiction Quarterly - managed well for a number of years on tiny budgets;Fantastic Universe, Imagination and Imaginative Tales continued for several years; and Infinity, Satellite and Venture were notable among the shorter-lived magazines. Many other titles came and went after only 1-2 issues, and only Fantastic and If survived the end of the decade. Fantastic was a digest-size companion to AMZ and Fantastic Adventures. AMZswitched to digest size in 1953, at which point Fantastic Adventures ceased, although Fantastic can be considered as in effect a continuation. If would have been another 1950s casualty had not the title been sold in1958 to Galaxy Publishing Corporation, which wanted a companion for Gal.The new magazines that succeeded were digests; of the 6 1940s pulps only AMZ (and, in a sense, Fantastic Adventures) survived the change in the publishing industry. The pulp-magazine business in general died in the early 1950s, a victim of increasing distribution problems and of the growing tv industry, which provided a more immediate cheap home entertainment. Weird Tales (which had pursued its own course through the 1930s-40s, publishing occasional sf) failed in 1954. Famous FantasticMysteries ceased in 1953; TWS, Startling Stories and Planet Stories survived until 1955, when they were among the last of all pulp magazines to die.In the UK, sf magazines had gained less of a foothold before WWII. The first was SCOOPS (1934), a short-lived BOYS' PAPER. This was followedin 1937 by TALES OF WONDER, the most notable early UK magazine, which survived until 1942. The first FANTASY appeared briefly in 1938-9. However, the post-WWII revival started earlier in the UK than in the USA,with the appearance of two magazines in 1946. Walter GILLINGS, editor of the prewar Tales of Wonder, now edited the second, equally short-lived FANTASY; NEW WORLDS, under John CARNELL, began in the same year. Bothceased publication in 1947, but NW was revived in 1949. In 1950 a companion magazine to NW, SCIENCE FANTASY, began under Gillings's editorship. Carnell took over from \#3 and continued the magazines successfully through the decade, publishing the early work of such authors as Brian W. ALDISS, J.G. BALLARD and John BRUNNER. In 1958 SCIENCE FICTION ADVENTURES joined these two magazines; initially a reprint of the UStitle, it continued after its transatlantic parent had died, publishing original stories under Carnell's editorship. Other UK magazines of the 1950s were AUTHENTIC SCIENCE FICTION and NEBULA SCIENCE FICTION; therewere also a number of minor titles, such as VARGO STATTEN SCIENCE FICTION MAGAZINE.Six US magazines continued into the 1960s: AMZ, ASF (now retitledAnalog), Fantastic, FSF, Gal and If. AMZ and Fantastic began the decade strongly under the editorship of Cele GOLDSMITH, who raised AMZ to a relative prominence which it had not enjoyed since the mid-1930s (although it was still of only secondary interest). In 1965 ZIFF-DAVIS sold AMZ and Fantastic, and they became reprint magazines, spawning numerous companiontitles. Later they began to include original fiction once more, undergoing a resurgence with Ted WHITE's accession to the editorship in 1969. Analog, under new management, took on a more modern, glossy appearance - experimenting for a while with a handsome large format - and continued to lead the field in sales. FSF, established as the "quality" sf magazine, maintained its reputation through two changes of editor. Gal and If had a new editor, Frederik POHL, under whom they remained successful; in the mid-1960s If concentrated strongly on adventure sf with a popular success that showed itself in 3 consecutive HUGOS (otherwise shared between Analog and FSF). Later Gal and If came under the editorship of Ejler JAKOBSSON, who made an unconvincing, gimmicky attempt to "modernize" them. Chief among the few attempts to launch new magazines during the decade, although a great number of reprint titles appeared, were the short-lived GAMMA and another companion to Gal and If, WORLDS OF TOMORROW. The most significant event for the future of sf magazines was the publication in 1966 of the first volume of Damon Knight's ORBIT series of ORIGINAL ANTHOLOGIES. It was not the first such series - Pohl had edited STAR SCIENCE FICTION STORIES in the 1950s - but it came at a more significant time, when themagazines were suffering increasing problems in distribution and in many cases falling circulations, while the paperback book industry continued to grow strongly. Anthology series like Orbit - essentially magazines in book format, less frequent, and without some of the readers' departments - could obtain better distribution, would remain on sale for longer periods, could be more selective in their choice of material, and could offer better payment than the majority of sf magazines. In due course Orbit was followed by other anthology series - INFINITY, NEW DIMENSIONS, NOVA, QUARK and UNIVERSE - as well as many one-off original anthologies, most notably DANGEROUS VISIONS. It was widely felt that the traditional sf magazine hadbecome an anachronism and in due course would be replaced by the paperback anthology, just as the digest magazines had supplanted the pulps. (In the event the magazines were not supplanted, but both the magazine market and the original-anthology market shrank radically in the 1980s.)In the UK it all happened rather differently. NW and Science Fantasy were taken over by a new publisher, Roberts \& Vinter, in 1964, and Carnell left. Both magazines now adopted paperback format, although continuing to be marketed as magazines rather than books. Science Fantasy went through various changes of editor - and in 1966 of title, to Impulse and then SF Impulse - before folding in 1967. NW's new editor, Michael MOORCOCK, gradually transformed its outlook, making it more experimental and less bound to the conventions of GENRE SF; it became known as the standard-bearer of the NEW WAVE. In 1967 Moorcock, with Arts Council assistance, took over aspublisher of the magazine, changing it to a large (approx 8in x 111/2in [A4]) format which allowed for more graphic adventurousness. NWencountered moments of controversy and subsequent distribution problems; it was banned by W.H. Smith \& Sons, by far the largest retail newsagent chain in the UK. NW eventually ceased magazine publication in 1971, though various attempts to revive it in both book and magazine format have taken place sporadically since. Carnell, meanwhile, had begun NEW WRITINGS IN SF, a quarterly original anthology series which predated Orbit by twoyears. In 1969 the short-lived magazine VISION OF TOMORROW appeared.Between the mid-1970s and 1980 there were several major changes among the established US sf magazines. At the beginning of 1975 If was absorbed into Gal (which had acquired a new editor, Jim BAEN, in 1974). From the beginning of 1977, Gal began to miss issues; it managed tostagger on until Summer 1980. AMZ and Fantastic suffered slowly dwindling circulations; even produced with minimal staff and budget, they were only just viable. The last separate issue of Fantastic came in Oct 1980; thereafter only AMZ survived . . . by the skin of its teeth. FSF and Analog remained stable, Analog with by far the greater circulation and,from 1972, a new editor, Ben BOVA, who did much to revive it from the stagnation of the later years of Campbell's reign.In the UK NW reappeared as an irregular paperback series (1971-6), changing editors and publishers along the way. In 1974-6 SCIENCE FICTION MONTHLY was published, a poster-size magazine relying heavily on the appeal of pages of full-colour art. A projected successor, SF DIGEST, was aborted even before \#1 had been distributed.Despite the predictions that original anthologies would replace magazines, in the USA the 1970s proved a more fertile period for new titles than the previous decade, while several of the anthology series failed. VERTEX, a glossy bedsheet-size magazine, was begun in 1973 and enjoyed success until forced by paper shortages to change to a newsprint format, dying soon after, in 1975. 1976 saw the launch of the short-lived ODYSSEY and the subscription-based semiprozine GALILEO (1976-80). It wasat around this time that the semiprozine started making real progress; production costs could be kept low with a small (maybe one-person) operation, so compensating in part for distribution difficulties and consequent low sales. Few lasted long, although besides Galileo two- UNEARTH (8 issues 1977-9) and SHAYOL (7 issues 1977-85) - had an influencegreater than their small-scale production might suggest. 1977 saw 3 further titles: in the UK VORTEX came and went; in the USA COSMOS SCIENCE FICTION AND FANTASY MAGAZINE and ISAAC ASIMOV'S SCIENCE FICTION MAGAZINEwere launched, both on apparently firm foundations. In the event the former lasted only 4 issues, but the latter steadily improved, to overtake all but Analog in terms of circulation, and to rival and then perhaps to supersede the big three (Analog, AMZ and FSF) in terms of quality. While IASFM was the major success story of the 1970s among the pure-sfmagazines, a spectacular development took place in 1978 with the launch of a new science magazine in slick format, OMNI, by the publisher best known previously for the sex magazine Penthouse. Omni's circulation, at well over 800,000 in some years, was about 8 times higher than that of any sf magazine, so it was a matter of considerable significance when Omni decided at the outset to include some sf stories as part of its mix. This it did with great success: although it published only 20-40 stories annually, these were often of high quality. 1978 also saw the launch of AD ASTRA in the UK; it lasted until 1981. Also in 1978, Jim Baen at ACE BOOKSdecided to get the best of both worlds by combining the sf magazine with the original-anthology series, launching DESTINIES, subtitled "The Paperback Magazine of Science Fiction and Speculative Fact", in bookformat.By the 1980s it seemed that the magazines were ultimately doomed: they could no longer compete with paperback publishers, video rentals and so on for the consumer's dollar. Through the decade the survivors faced steadily dropping circulations (with occasional fluctuations), and the founding of a new magazine could be seen as an act of insane courage. Nonetheless, new titles did appear. In the UK EXTRO lasted only 3 issues,but INTERZONE, likewise launched in 1982, proved quite another story. Founded by a collective (several members of which worked professionally insf publishing as critics or editors), it began with the slightly morose air of yet another NW clone, with plenty of stories about ravaged societies. But bit by bit it picked up until, a decade later, now under the editorship and ownership of David PRINGLE, it rivals the very best US magazines in terms of quality, although the circulation is still small. In the USA Charles RYAN (who had edited Galileo) returned in 1986 with ABORIGINAL SCIENCE FICTION, which continues, though floundering, in the1990s.Of possible future significance is the proliferation of desk-top published magazines produced by small groups of enthusiasts and aimed not at the mass market but at a continuing specialist readership. These magazines, partly a result of technological developments having brought home publishing within the financial reach of people who could once not have considered it, provide extremely valuable proving grounds for young writers who then may move elsewhere. Among the more distinguished such titles of the 1980s devoted to publishing fiction have been BACK BRAIN RECLUSE (UK), EIDOLON (Australia), JOURNAL WIRED (US), NEW PATHWAYS (US)and STRANGE PLASMA (US). Many more thus published are critical journals, such as SCIENCE FICTION EYE (US). Other SMALL PRESSES with considerably better financial backing have occasionally moved into the periodical field, notably PULPHOUSE PUBLISHING with first PULPHOUSE: THE HARDBACK MAGAZINE (1988-91) and then its successor, Pulphouse: A Weekly Magazine,which in late 1992 was continuing on a monthly basis. This, too, is aimed at a specialist market. In 1992 it was reported that Pulphouse was launching Tomorrow Speculative Fiction, ed Algis BUDRYS.By the end of 1991, the only English-language sf magazines with circulations over 20,000were Aboriginal SF, Analog, IASFM, FSF and Omni, and only 3 of these topped 70,000: Analog, IASFM (both sold to Dell in 1992) and Omni. All have problems, even Omni. When seen in the context of magazine publication generally, sales figures of this order (apart from Omni's) are minuscule, and from the economic point of view sf has long since ceased to be of any importance at all in periodical publishing. These magazines, however, remain absolutely vital to sf's continued health, because it is primarily through them that short sf - which is in a remarkably healthy state at the beginning of the 1990s - remains alive at all.

   MJE/PN

   Further reading: The Introduction (page xix) gives an explanation of which sf magazines are given individual entries. Early fantasy magazines and hero/villain pulp magazines with an sf content, such as The SPIDER , are separately listed under PULP MAGAZINES, as are general-fiction pulps like The BLUE BOOK MAGAZINE . Further information on the publishing of sf in periodicalformat can be found under BOYS' PAPERS, COMICS, DIME-NOVEL SF, FANZINES, JUVENILE SERIES, SEMIPROZINES and MAGAZINES; the latter entry lists allgeneral-fiction slicks and tabloids which regularly published sf. An excellent reference on individual sf and fantasy magazines up to 1984 is Science Fiction, Fantasy, and Weird Fiction Magazines (1985) ed MarshallB. TYMN and Mike ASHLEY.