Der Marsspion - Novellen aus der Zukunft (German Edition)
Other German sf writers popular in the first two decades of the twentieth century include: Finally, there was the classic novel Der Tunnel ; trans anon as The Tunnel by Bernhard Kellermann rendered Bernard Kellerman in the English translation , about the building of a tunnel between England and the Continent; it was filmed as Der Tunnel Between the two World Wars an especially German type of sf came into being, namely the scientific-technical Zukunftsroman future novel , a term which gave its name to the genre, being only gradually replaced, from the early s onward, by the foreign designation "science fiction", which was eventually naturalized.
Culture : Germany : SFE : Science Fiction Encyclopedia
By far the most popular author of the Zukunftsroman — the spectrum of whose themes was fixed much more strictly than that of US-UK "science fiction" — was unquestionably Hans Dominik , whose nearly 20 books — his first novel was Die Macht der Drei ["The Power of the Three"] — sold several million copies in total. Dominik's books are clumsy and badly written, but they survive on the frisson given by their technically oriented adventure, and were probably also successful because their distinctly nationalistic overtones — the German engineer being seen as superior to all others in the world — suited the spirit of a Germany in which National Socialism was on the rise.
Heir of Atlantis"] , with issues, and Jan Mayen , with issues. The former deals with an Atlantean in modern London, planning, with supertechnology, to control Atlantis when it reappears. Sf of this type had great influence on the first postwar generation of German sf authors. Before writing, he consulted the German rocket pioneer Max Valier and was able to give a technically exact according to the knowledge of the time description of a flight to the Moon and of other space plans since realized.
Another writer who like Gail had some of his work translated into English and published in Hugo Gernsback 's sf magazines was Otfrid von Hanstein. The five novels concerned included Mond-Rak 1: But perhaps the sf writer of the period best known abroad was Thea von Harbou , who had collaborated with her husband, film director Fritz Lang , on the screenplays of several sf films including the great classic Metropolis and also Die Frau im Mond An unusual theme is dealt with in Druso: Oder die gestohlene Menschheit ["Druso, or The Stolen Mankind"] ; trans Fletcher Pratt as "Druso" Wonder Stories by Friedrich Freksa , a novel about superhumans that reaches far into the future, but which is sadly marred by racist and fascist undertones.
This is almost opposite, politically, to Utopolis by Werner Illing , which is a socialist utopia in which workers defeat rebellious capitalists. Utopolis , however, is at the more literary end of the spectrum. It was one of several impressive sf novels published by non-genre authors between the wars. Among the others were Tuzub 37 by Paul Gurk , a strange "green" dystopia in which a flayed and totally concreted Nature rises up against the mankind who did this, and Balthasar Tipho by Hans Flesch , a strong apocalyptic novel.
Two of his books are surreal, metamorphic sf of very considerable power: His work was a potent influence on Cordwainer Smith 's sf. All of these works, however, stand somewhat outside what most readers would regard as sf proper. There were further stories of the future from more "literary" German writers after World War Two, though the one best known in the English-speaking world was in fact by an Austrian, Franz Werfel: Die Welt der Angeklagten ["No: This line made the term "science fiction" known to German readers for the first time, and is now legendary to fans and collectors.
In terms of copies sold at the time, it was a flop. While in the GDR literature generally, and therefore sf, had to serve socialism, in the FRG sf publishing at first saw itself in terms of the traditional Zukunftsroman. A specialized form of publishing turned out to be significant for sf: Before the circulating libraries fell victim in the late s and early s to the altered leisure-time behaviour of the readership, more than sf novels were published in this format.
Even though most of them were trash, they nevertheless prepared the way for a growing generation of native German authors, as well as publishing translations into German for the first time of books by E E "Doc" Smith , A E van Vogt , Philip K Dick , Clifford D Simak and others.
The second and more important pathway into postwar German sf writing was provided by the publishers of pulp adventures.
The long and continuous German tradition of publishing dime-novel booklets only faded away in the s. Some reprints of prewar sf of this kind have already been mentioned, but it was above all the three publishers Pabel, Lehning and Moewig who dominated in this field. In Lehning followed up with reprints of circulating-library titles in its pulp line Luna-Utopia-Roman , and in Moewig joined the scene with Terra , followed by Terra-Sonderband and Galaxis , a German edition of Galaxy Science Fiction. It was Pabel which succeeded in popularizing the term "science fiction" in Germany.
At the beginning of the Utopia-Zukunftsromane line the stories consisted of serial adventures in the Jim Parker series, but later they shifted to novels independent of series, and from on also translations mostly short novels of Murray Leinster , Eric Frank Russell and many others. Quite a number of the best and most popular US sf novels and novellas appeared amid all this material published by Pabel and the other companies, but most were translated rather badly and, as the format was limited to a fixed number of pages, often drastically cut, a practice that continued in German sf translations for a long time, since early paperbacks, too, had a rigidly restricted page count.
It was Walter Ernsting , first at Pabel and later at Moewig, who could be regarded as the engine that propelled the growing sf industry. He wrote sf adventures under the pseudonym Clark Darlton ; along with K H Scheer he soon became the most popular author of German adventure sf, and as an editor he was responsible for altering publishers' policies in part towards the publication of more of the UK-US type of sf , editing both Utopia-Magazin and the pulp publishing lines the immediate predecessors of paperback publishing as understood in the English-speaking world Utopia-Grossband and Terra-Sonderband , the latter continuing as the paperback line Terra-Taschenbuch.
Ernsting is, of course, most famous for founding Perry Rhodan with Scheer in It is the most popular pulp-adventure sf series in the History of SF ; to more than short novels had been published in it, not to mention numerous reprints, paperbacks, hardcovers and the spin-off Atlan series, which itself has published a massive number of titles.
The Perry Rhodan print-run — it is published weekly — is around , copies for the first edition. The series was and still is written by a team see Perry Rhodan for further details. Because of the power he had in selecting new authors for the various lines and series, he has been called the John W Campbell of the German pulps.
However, on a smaller scale, the Orion series is still thriving, originally in the pulp format but now in paperback reprints; its novelizations and ongoing novels, about of them, many by Hans Kneifel , are based on the successful German television Space Opera series Raumpatrouille: Until the s, paperbacks were the exception rather than the rule in German publishing, being brought out only by smaller publishers. Genre sf mainly remained a feature of the pulp scene and seemed to be unsaleable outside that milieu.
This changed when, in , the publishing house Goldmann began a hardcover sf line with the Austrian-born Herbert W Franke as consulting editor and then, from , a paperback line that continues today. In , too, the publisher Heyne began, at first sporadically but then vigorously, to publish sf.
Heyne developed into one of the bestselling publishers of paperbacks generally, not just in sf; but sf remained a central part of its publishing programme and with Wolfgang Jeschke as editor, it became undisputed leader of the sf market, publishing over paperbacks a year, mostly translations. Just as Ernsting and Schelwokat forced the pace of sf pulp-adventure publishing in Germany, so Jeschke was the person most responsible for sf's development as a paperback literature in Germany.
With his line of sf paperbacks, including sub-lines like Classics and Bibliothek der Science Fiction , and his ability to select the best work, Jeschke fulfilled his intention of presenting the whole spectrum of sf from all over the world.
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