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Specialty Press Science Fiction In A Nutshell

By: Aaron R Daniel

I started buying Astounding SF in 1957, and shortly I used to be seeing ads for books from Gnome Press, Shasta Publishers, Fantasy Press, etc. I think the names themselves clued me in to the very fact that they were uniquely oriented to the SF field, but I had no plan that the majority of them were one or two-man operations.
No idea, that's, till I ordered something that was out of print, and got a postcard concerning it, hastily typed and signed by Martin M. Greenberg, publisher of Gnome Press! Imagine ordering one thing from Doubleday and Co. and therefore the chairman of the board drops you a line, "Gee, Billy, I don't suppose we tend to have any a lot of of these, we have a tendency to'll have to present your four dollars back. How's your of us?"
It looks certain that the primary and longest lasting of those publishers was Arkham House, founded as a venue to gift the work of H. P. Lovecraft in an exceedingly more permanent type than the pulp magazines in that he initial appeared. Arkham went on to publish different Weird Tales authors like August Derleth, Clark Ashton Smith, Robert E. Howard, Robert Block, Greye La Spina, etc., however they additionally created infrequent forays into the world of science fiction with outstanding books like A. E. van Vogt's Slan.
Fantasy Press did as much for Edward E. Smith Ph.D. as Arkham did for Lovecraft, and Smith was still alive to understand quality hardcover publication. They issued books from his classic Skylark and Lensman series, and Spacehounds of IPC, in very fascinating and attractive volumes with a little illustration embellishing the initial letter in each chapter. Even when the foremost publishers began science fiction programs, they weren't doing something like this.
Most likely most of the key serials from Astounding throughout John W. Campbell's tenure as editor achieved hardcover publication. Additionally, several of the higher serials and short stories from different publications were collected, furthermore a variety or originals that had never seen print in the magazines.
And unlike the main publishers who obtained jacket art and design from the same agencies that provided it for the opposite fiction in their line, the specialty publishers designed their list of artists for his or her illustrated books from names the fans were used to seeing in the pulp magazines and amateur journals.
Hannes Bok provided glorious painted covers for Skull Face And Others and the House on the Borderland, each issued by Arkham House, The Titan from Fantasy Press, and for John Campbell's Who Goes There? from Shasta.
Edd Cartier had the covers for I, Robot, Foundation and Empire and Cosmic Engineers from Gnome Press, and a sinister Dr. Lell with an hourglass for Masters of Time from Fantasy Press.
Ric Binkley, not the most important fan favorite, nevertheless turned in a terribly satisfactory series of covers and chapter headings for the Doc Smith books regarding Kimball Kinnison and for others like John Campbell's The Black Star Passes.
And every Avalon book I've ever seen includes a cowl by Ed Emshwiller.
Fiction wasn't the only issue created by the specialty publishers. Advent, for instance, was primarily known for its books about science fiction: critiques, memoirs, concordances, SF history, etc. This has served a valuable function in serving to fans, recent and new, to stay in bit with the sector and to understand its history.
The era of the science fiction specialty publisher has pretty much passed. Fantasy Press, Shasta Publishers, Gnome Press, FPCI, Prime Press, these are all gone. However limited editions are still being created, and can still be issued by enthusiasts who decry the very fact that wonderful items of imaginative fiction and art are lying ignored by businesses whose prime motivation must invariably be determined by the bottom line.
It's a matter of personal pride that I was lucky enough to be asked to design a couple of mud jackets for Arkham House in the 1970s. I wound up investing far a lot of time in the design and execution of these than the cash concerned might justify. But I think sometimes the character of the work is its own justification.

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