The Best of Sci-Fi (Three) - Cordelia Titcomb Smith, ebook, Temp
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Published by DELL PUBLISHING,750 Third Avenue, New York N.Y. 10017Copyright, 1964, by Dell Publishing Co., Inc.Laurel-Leaf Library, Dell Publishing Co., Inc. All rights reservedFirst Printing—February, 1964Second Printing—June, 1967Third Printing—June, 1969Printed in U.S.A.VITAL FACTOR, by Nelson Bond. Copyright, 1951, by Nelson Bond. Reprinted by permission of the author.POTTAGE, by Zenna Henderson. From PILGRIMAGE by Zenna Henderson. Copyright © 1955, by Mercury Press, Inc. Reprinted by perÂmission off Doubleday 8s Co., Inc. and Willis Kingsley Wing.THE ROADS MUST ROLL, by Robert A. Heinlein. Reprinted from ASTOUNDING SCIENCE FICTION (now ANALOG Science Fact—Science Fiction); copyright © 1940 by Robert A. Heinlein.NIGHTFALL, by Isaac Asimov. Copyright 1941 Street 8s Smith PubÂlications, Inc. in the U.S.A. and Great Britain. Reprinted from ASTOUNDING SCIENCE FICTION by permission of the author.HISTORY LESSON, by Arthur C. Clarke. Copyright 1949 by BetÂter Publications, Inc. Reprinted by permission of the author and the author's agents, Scott Meredith Literary Agency, Inc.IN HIDING, by Wilmer Shires. Copyright, 1948, by Street 8s Smith Publications, Inc. Reprinted by permission of the author.THE MARTIAN CROWN JEWELS, by Pout Anderson. © 1958 by Davis Publications, Inc. This story originally appeared in Ellery Queen's Mystery Magazine. Reprinted by permission of the author and the author's agents, Scott Meredith Literary Agency, Inc.THE SANDS OF TIME, by P. Schuyler Miller. Reprinted from ASTOUNDING SCIENCE FICTION (now ANALOG Science Fact—Science Fiction), copyright 1937 by Street 8s Smith Publications, Inc. Reprinted by permission of the author.CONTENTSINTRODUCTIONVITAL FACTOR, by Nelson BondPOTTAGE, by Zenna HendersonTHE ROADS MUST ROLL, by Robert HeinleinTHE STOLEN BACILLUS, by H. G. WellsTHE STAR, by H. G. WellsNIGHTFALL, by Isaac AsimovHISTORY LESSON, by Arthur C. ClarkeIN HIDING, by Wilmer ShirasTHE MARTIAN CROWN JEWELS, by Poul AndersonTHE SANDS OF TIME, by P. Schuyler MillerINTO SPACE, by Jules VerneINTRODUCTIONIn 1929, Hugo Gernsback, the publisher of Amazing Stories, first used the term "science fiction" to identify the particuÂlar type of story that was published in his magazine. But the form is older than the label. It was probably first used by primitive storytellers who, not knowing a thing about sciÂence, went beyond their simple understanding of nature and with imagination created tales that could be believed by their hearers.The possibility of belief is one of the important elements in science fiction. When Homer retold the adventures of Ulysses in the Odyssey he frequently resorted to a technique of what we now call science fiction. This technique is simÂple, the inclusion of strange and unknown elements in a story that starts or takes off from a familiar point. This one foot in the world of reality makes everything else that hapÂpens believable. Thus we may compare Ulysses, leaving his home and wandering through the western Mediterranean (then as unknown as the depth of the sea) to Captain Nemo and his crew in Jules Verne's nineteenth-century sciÂence fiction masterpiece Twenty-Thousand Leagues Under the Sea.Much of our literary heritage that was concerned with making the incredible somewhat believable was not always science fiction. Much of the Arabian Nights is pure fantasy, such as Sindbad's flight on the great bird. Some of these tales are closer to our modern definition of science fiction, such as those in which flying carpets are used. The closest thing to science fiction in the Arabian Nights is probably the story of Aladdin's lamp.With the growth in man's knowledge of himself and the world around him came the concept of science. Not until this concept was firmly established could there be any real science fiction, because this type of fiction depends on known science for its one foot in reality in order to make the implausible, the way-out science, believable.Science fiction can be as good or as bad as any other kind of writing. The best has style, originality, characterizaÂtion, and content. It can be appreciated for its literary qualities as much as any other types of fiction. Among those who have contributed memorable works to science fiction are a host of outstanding writers including Mary WollstoneÂcraft Shelley, Robert Louis Stevenson, Edgar Allan Poe, H. G. Wells, and George Orwell.Science fiction appeals to people of all ages, but it has a particular appeal to youth (and those who are young at any age) because it probes into the future or into still unexÂplored regions. Students who find other types of fiction dull or unrewarding will often turn to science fiction for stimuÂlation. The effective teacher will channel this interest on the part of her students who prefer science fiction and see that they have access to the best of this kind of writing. The important thing is that students read—from good science fiction they can be directed to other forms of literature.That science fiction has an impact on the young was pointed out by the above-mentioned Hugo Gernsback in a speech given at the Massachusetts Institute of Technology in October, 1960. He said:It has been said that the space age belongs to the young. Equally true is the fact—it has always been a fact since its inception—that science fiction is the domain of youth. The gifted young mind often has the faculty of an uninhibited, intuitive, forceful imagination that can soar and ferret out secrets of nature.One other aspect of science fiction should not be overÂlooked—it is lots of fun. There is humor in much of it, bordering on satire. Be watchful for the tongue-in-cheek twist and the quick about-face of such stories as History Lesson by Arthur Clarke, and that detective story of the future, The Martian Crown Jewels by Poul Anderson. Part of the fun of reading science fiction is in determining where fact becomes fiction in a specific story. Could what happened in H. G. Wells' The Stolen Bacillus be true? Could an atomic explosion have the effect on the genes that is basic to the story In Hiding, by Wilmar Shiras?The stories in this book are both old and new, but they all deal with some aspect of science, they all are superb bits of story telling, and they will all appeal to an "uninhibited, intuitive, forceful imagination."CORDELIA TITCOMB SMITHVITAL FACTORby Nelson BondMoney can accomplish many things, but it cannot always control the forces it unleashes. A flying saucer takes off.Wayne Crowder called himself a forceful man. Those who knew him best (none knew him really well) substituted adjectives somewhat less flattering. He was, they said, a cold and ruthless man; a man of iron will and icy determination; a man with a heart to match his granite jaw. Not cunning, dishonest or unfair. Just hard. A man who wanted his own way—and got it.In an era that sees more fortunes lost than gained, Crowder proved his ability and acumen by getting rich. Even in these days of exaggerated material and labor costs this can be done by a bold, determined man who admits no obstacles. Wayne Crowder did it. He patented a simple household product needed by everyone, sold it at a penny profit that crushed all would-be competition, and made himself a multi-millionaire despite the staggering levies of the Department of Internal Revenue. He built himself a towering structure and placed his private office at its peak. He dwelt in the clouds, both figuratively and literally. In sense and essence, those whom he employed were his underlings.A man of ice and stone and ink and steel, they called him. And in the main, their judgment was correct.But he surprised them.One afternoon he said to his secretary, "Get me my engineers."The engineers sat deferentially before his massive desk. Wayne Crowder told them crisply, "Gentlemen—I want you to build me a spaceship."The engineers eyed him, and then each other, a bit apprehensively. Their spokesman cleared his throat."A spaceship, sir?""I have decided," said Crowder, "to be the man who gives spaceflight to mankind."One of the experts said, "We can design you such a ship, sir. That part is not too hard. The fundamental blue print has been in existence for many years; the submarine is its basis. But—""Yes?""But the motor that will power such a ship," said the engineer frankly, "we cannot provide. Men have searched it for decades, but the answer is not yet found. In other words, we can build you a ship, but we can't lift that ship from Earth's surface.""Design the ship," said Crowder, "and I will find the motor you need."The chief engineer asked, "Where?"Crowder answered, "A fair question. And my answer is: I do not know. But somewhere in this world is a man who does know the secret—and will reveal it if I provide the money to convert his theory to fact. I'll be that man.""You'll be besieged by crackpots.""I know it. You men must help me separate the wheat from the chaff. But anyone who shows up with a promising idea, however fantastic it may sound, shall have a chance to show what he can do.""You mean you'll subsidize their experiments? It will cost a fortune!""I have a fortune," said Crowder succinctly. "Now get to work. Build me the ship, and I will make it fly."Wayne Crowder summoned the newsmen. Their stories were spectacular, amusing. Press syndicates took jeering de-light in offering the world the magnate's offer of one hundred thousand dollars in cold cash to the man who would make it possible for a vessel to rise from this planet. But the stories circulated ...
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