Analog Science Fiction and Fact (November 2014)

Analog technology Fiction and truth, November 2014, quantity CXXXIV No. 11
Trevor Quachri, editor
Cover paintings by means of Joshua Meehan


"Flow" by way of Arlan Andrews Sr.

"Persephone Descending" through Derek Kunsken

Short Stories
"Superior Sapience" via Robert R. Chase
"An workout in Motivation" through Ian Creasey
"Habeas Corpus Callosum" through Jay Werkheiser
"Conquest" by means of Bud Sparhawk
"Elysia Elysium" by means of V. G. Campen
"Mercy, Killer" by way of Auston Habershaw

"Fieldnotes" by way of Lola Haskins

Science Fact
"Predictable Futures: weather Fiction and weather Fact" through W.R.L. Anderegg

Guest Editorial: "Living in Indignation" through Richard A. Lovett
Alternate View: "Inflation and the Swirls of Gravity" through John G. Cramer

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Extra info for Analog Science Fiction and Fact (November 2014)

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Edward Cahn, 1957]). Whether the films 35 SCIENCE FICTION CINEMA therefore fostered alarm or worked to reassure an increasingly nervous public is open to interpretation. For instance, many of these films literally represented the reactions of a cynical and complacent public refusing to act upon the warnings they had been given. g. Earth vs. the Flying Saucers [dir. Fred F. Sears, 1956], The Angry Red Planet [dir. Ib Melchior, 1960]), who frequently looked to the US military or other governing forces to secure their future in a changing world.

G. Wells), but the ‘roots’ of the American film genre can be traced back to a far wider variety of sources. Following the popular and inexpensive ‘dime novels’ of the nineteenth century, came what were known as the ‘pulps’. These were cheaply produced magazines aimed at a mass market. e. detective, war, adventure and western fiction). From these emerged the science fiction pulps, although the term was not in regular use until later in the decade. The pulp Amazing Stories (first published in 1926) is generally regarded as the first science fiction magazine, although its creator, Hugo Gernsback, originally called it a ‘scientification’ magazine.

So, as a metaphor it’s wonderful, but what goes on in the ship I thought was so pulpy and silly and there was no real emotion in it. And I thought . . to be caged in such a ship, to be caught in a technology that you hadn’t invented, forty generations on, what would that feel like? How would they get to understand their situation? So the story of Non-Stop, I suppose you might say, was derivative – the way much science fiction is. It takes up ideas and it develops them. C: So, unlike what we could call ‘hard’ science fiction, would you say there was an interest in psychology that runs throughout your work?

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