By Robert Silverberg
Shooting a behind-the-scenes glimpse into the realm of technological know-how fiction, this specified autobiography by way of Robert Silverberg exhibits how well-known tales during this style have been conceived and written. Chronicling his profession as the most vital American technological know-how fiction writers of the 20 th century, this account unearths how he rose to prominence because the pulp period used to be ending—and the style used to be starting to tackle a extra subtle tone—to ultimately be named a Grand grasp by means of the technology Fiction Writers of the US. mentioning that it will be his merely autobiographical paintings, Silverberg's booklet comprises infrequent pictures, ephemera from his personal records, and an entire bibliography of his works, from novels and brief tale collections to nonfiction.
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Extra resources for Other Spaces, Other Times: A Life Spent in the Future
You’re bound to connect sooner or later. ” I was thrilled. Before long, I sent Bixby another story, certain that he would accept it. ” Not even “does not fit our needs”! Another from 1950, from the low and slow-paying Weird Tales, thanks me “for the privilege of reading your manuscript. ” Another from Amazing in Chicago — “Sorry overstocked,” again. It refers to a story called “Homeward Retreat,” of which I have not the slightest recollection. From Future Science Fiction’s Robert W. Lowndes, to whom I would sell a host of stories years 31 later: “We are sorry that your manuscript is not for us, and that we could not return it with an individual letter.
I have never been much of a user of stimulants — I don’t even drink coffee. Garrett, though, said that my predicament could be solved with the help of something called benzedrine — we would call it “speed” today — which he happened to take to control his weight. A little Benzedrine would hop up my metabolism to the point THE ORIGINAL SCIENCE FICTION STORIES, Nov. 1959, with cover art by Ed Emshwiller for “The Impossible Intelligence” by RS. 50 where writing 40 pages in a one-day sitting would be no problem at all.
Like most of my stories at that time this one made its modest way from editor to editor, descending from the top-paying markets to those further down the pecking order, and early in 1956 was bought, for a glorious $40, by Leo Margulies, the publisher of Fantastic Universe, who was beginning to accept my work with some regularity. He ran it in the August 1956 issue. It’s not a masterpiece, no: I wasn’t really up to turning out a lot of masterpieces when I was twenty years old. But it stands up pretty well, I think — an intelligent consideration of some of the problems that the still virtually unborn computer age was likely to bring.