"Sam Moskowitz - Doorway Into Time" - читать интересную книгу автора (Moskowitz Sam)

similar to those found in PLANET STORIES. It was openmindedness to stories of
this type that led Norton to discover Ray Bradbury, buy-ing his first story
Pendulum written in collaboration with Henry Hasse for the Nov., 1941 SUPER
SCIENCE STORIES. In common with PLANET STORIES and the Standard
Magazines group, he shared the swashbuckling literary talents of Leigh Brackett and
the Merritt-like fantastes of Henry Kuttner.
Many other titles came and went, but the foregoing comprised the most influential
and represented the types of science fiction most popular at the time the United
States entered World War II. The effect of the draft and special in-dustrial
assignments of the specially qualified affected Campbell severely. His mainstays
were predominantly of draft age, and certain of them such as Heinlein, de Camp,
Asimov, had occupational specialties which war industry needed.
The other magazines had a far higher percentage of older and draft-exempt
authors, who continued to write, and all, throughout the war years, had publishing
frequency and wordage requirements far less demanding than ASTOUNDING
SCIENCE-FICTION. One new outstanding author, Fritz Leiber, was added to the
roster by Campbell during the war years and Clifford D. Simak came into his own
during this period, contributing the stories that made up his justifiably famous book,
City. Murray Leinster, a veritable patriarch among writers, also helped fill the war
gap nobly. Henry Kuttner, under the pen name of Lewis Padgett, was recruited to
write for Campbell a series of remarkable stories in the vein of John Collier, while his
wife, C. L. Moore, cloaked in the alias of Lawrence O'Donnell, was hailed as an
extraordinary discovery by the gullible readership. Jack Williamson for a brief time
played the role of the promising young writer, Will Stewart, writing heavy-science
stories about anti-matter until the lure of adventure found him enlisting in the armed
services and getting more than he bargained for in the Pacific air war.
Just as the Jews for centuries sustained themselves with the slogan "Tomorrow in
Israel," John W. Campbell sus-tained his readers with a blinding vision of what they
might expect when "the boys come marching home."
The appearance of the first post-war major science fic-tion anthology, The Best of
Science Fiction, edited by Groff Conklin in 1946 proved a triumph for John W.
Campbell. The book became a best seller in the true meaning of the term and the
bulk of the wordage in the volume was modern science fiction from Campbell's
magazine. In a preface written by Campbell, the basic differences between "modem"
and pre-vious forms of science fiction were spelled out.

First, the writing method:

In older science fiction—H. G. Wells and nearly all stories written before
1935—the author took time out to bring the reader up to date as to what had
happened before his story opened. The best modern writers of science fiction have
worked out some truly remarkable techniques for presenting a great deal of
background and associated material without intruding into the flow of the story. That
is no small feat, when a complete new world must be established at the same time a
story is being presented.

Secondly, the content:

But the modern science-fiction writer doesn't merely say, "In about ten years we
will have atomic weapons." He goes further; his primary interest is in what these