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Discover Prime Book Box for Kids. Learn more. Frequently bought together. Add all three to Cart Add all three to List. Customers who viewed this item also viewed. Page 1 of 1 Start over Page 1 of 1. About the Author Robert W. Read more. Don't have a Kindle? Try the Kindle edition and experience these great reading features:. Share your thoughts with other customers. Write a customer review. Showing of 3 reviews. Top Reviews Most recent Top Reviews. There was a problem filtering reviews right now. Please try again later. Format: Kindle Edition Verified Purchase.

Portions of it I liked, such as the space baseball game, which was rather creative. The basic plot with the "Thieving and skulduggery" was convoluted. Format: Kindle Edition. Alan and Peter Clay is a father and son mining team operating in the asteroid belt, and Peter is a newbie having just come there from Mars. Peter is just over seventeen, and he's totally new to mining so everything has to be explained to him by his Dad who is an old hand at all of this.

This is Robert W. Lowndes Robert A.

Adult Science Fiction & Fantasy Recommendations // 2019

Lowndes: of infodumping blocks of pertinent information onto his young adult audience. As the pair get ready to go out for the day, they get a call from an old family friend, Barbara Abend. It seems that Glen, her husband and fellow miner, hasn't checked in with her for two days. And as Alan and Peter head out in their ship, the "Claymore", they get a distress call from miner Dave Ogden who's being besieged by claim jumpers.

Then the Clays find that THEY are accused of claim jumping, and it's up to them to prove that their claim is real, because, as they find out, the claims office was corrupt, and many prospecting claims have mysteriously disappeared. Unfortunately, there is a time limit to prove their claim's legitimacy, and to top it off why is there an accused crook wandering around the asteroid belt always in need of rescuing by the AMA, who is always just "right there" when needed.

Then there is an "accident", this time resulting in a possible murder, and an attempted murder, and Alan and Peter will also find out something very interesting about their old friend Glen.

Future Fantasy and Science Fiction v03n03, February 1943

This is because Lowndes uses "Mystery Of The Third Mine" as an old-fashioned method to use his novel more as a teaching tool than as an entertainment. I understand that this book was for young teens, but everything, including every plot point, has to be noted, and explained, for the reader. On the other hand there are some really good things about this novel. Miners find a way to communicate through their own private method; here the Clays and Abens do so through blinking.

However, while this method is interesting, Lowndes overdoes it. We get some fairly lengthy conversations through blinking reads, which reads a little silly as written down on the printed page, and would seem headache inducing in real life. Still, a nice idea. Another thing that I liked was Lowndes emphasis on music in his novel. Even considering the time period that this novel was written, in for the, now collectable Winston Science Fiction series, it is sorta odd. No country, no pop, no jazz, and no music requiring vocals. In space nobody can hear you sing?!?

There is also no pop culture of any kind, and no religion or government. This is a novel that tries very hard to be all things to all people, and to be as bland as possible while doing so.

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Even the prose is undistinguished and bland. On the other hand, none of the characters are offensively stupid, obtuse, sexist, or racist. This is pretty much of an A-to-Z type of a boy's adventure story, something that could have been serialized in "Boy's Life". Lowndes novel dates some, as this is a novel that was written, and published, in the pre-computer days.

This novel also has a strong Libertarian viewpoint, in that it considers anything that is big, especially any form of authority bad, and that anybody can make do with their own effort. Robert A. Especially notable was his magazine "Startling Mystery Stories" which published the first two stories by Stephen King. He also wrote a number of Lovecraftian stories that have become cult favorites, so I was disappointed that this novel was so bland and unexciting. It could have been so much more.

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However, to be fair, I probably would have loved this space western when I was in my early or preteen years in the sixties, but times have changed, and so has literature. Lowndes to write to Silberkleit. Lowndes later recalled Wollheim's idea: "In the letter, I'd suggest that it might be a good idea to add a science fiction title to the list, offering my services as editor at a slightly lower price than Hornig was being paid, and also find fault with all the other sf titles presently out, but particularly with Hornig's". Lowndes subsequently agreed that this was likely to be the real reason Silberkleit replaced Hornig.

The changes included the replacement of Fantasy Times , a fan department by James Taurasi, with Futurian Times , a similar department from a rival group of fans, the Futurians , to which Lowndes belonged. Science Fiction was not selling well, and later that year Silberkleit merged it with Future Fiction , [8] under the title Future Combined with Science Fiction. In , Silberkleit brought back Future , under the title Future Combined with Science Fiction Stories ; this allowed Silberkleit to keep the rights to both the titles. Another issue with the same format and title followed in the spring of , also unnumbered.

The first issue in the new format was dated January , and in response to reader feedback the title was changed to Science Fiction Stories. The volume numbering was continued from the existing Future volume numbering, despite the fact that the title was taken from Science Fiction , the earlier magazine. Since Science Fiction Stories was using the volume numbering from the previous pulp-format incarnation of Future , Silberkleit switched to an issue number format, with no volume.

Both Science Fiction Stories and Future Fiction were able to maintain a fairly regular schedule through the rest of the s. Science Fiction Stories was bimonthly throughout, except for a brief period from mid to early when it patchily adhered to a monthly schedule. Future Fiction began with three undated issues, then switched to a quarterly schedule in , and finally to a regular bimonthly schedule from the start of This was intended to make it clear that the magazine was a continuation of the version of Science Fiction , but it led to additional confusion, with some readers believing that this was an entirely new magazine.

Lowndes addressed the confusion in the letter column of Science Fiction Stories , saying [24]. To this I reply that you may have it either way, or in this instance, both ways!

Really, I don't see why science fictionists, who can absorb alternate time tracks etc. In Silberkleit's distributor stopped carrying his magazines, and both titles ceased publication, with no notice given in their final issues that this was the end. The first issue of Science Fiction showed the continuing influence of Hugo Gernsback in the sf magazine field: in addition to an editor who had worked for him, the magazine featured a guest editorial by Gernsback, and the cover was painted by Frank R.


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Paul , a stalwart of the Gernsback days [5] [30] —in fact, all 12 of Science Fiction 's covers for the first series were painted by Paul. Hornig worked with Julius Schwartz , a literary agent who was a friend of his; this gave him access to stories by the writers Schwartz represented, but Schwartz would not allow his authors' real names to be used unless they were paid at least one cent per word.

Hornig could not afford to pay the one cent rate for everything he bought, so he paid half a cent a word for much of what he acquired through Schwartz, and ran those stories under pseudonyms. Unsurprisingly, given the low rates, the stories sent to Hornig had usually already been rejected by the better-paying markets. The result was mediocre fiction, even from the better-known writers that Hornig was able to attract. A letter from Ray Bradbury , who was a friend of Hornig's, was published in the second issue of Science Fiction , encouraging Hornig to publish sophisticated stories; in response, Hornig wrote "I'm trying to give the magazine an appeal to mature minds", but sf historian Mike Ashley comments that "this never became evident".

Kaplan , J. Harvey Haggard , and Miles J. Breuer , all of whom had been more active some years earlier, and Ashley suggests that Hornig may have obtained some of the many stories that Palmer threw out when he became editor of Amazing Stories in When Future was relaunched in early , the sf magazine field was not particularly crowded, and Lowndes was able to attract moderately good stories from writers who were either well-known or on their way up in the field. Beam Piper , and L. Sprague de Camp. Clarke , and "Liberation of Earth" by William Tenn , [35] which Damon Knight described as "the funniest story [Tenn has] ever written".

The trial issues of Science Fiction Stories in and were competent but unremarkable, with stories by some popular writers, such as Poul Anderson , Algis Budrys , and Philip K. Scortia 's best short stories. Dick's novel of the same name ; Clifford D.

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Simak 's "Worlds Without End"; and Judith Merril's "Homecalling", reprinted in the s in SF Impulse , whose editor, Kyril Bonfiglioli , commented "I don't believe I have ever read a more successful attempt to imagine an utterly alien way of thought. Lafferty 's first story appeared in Science Fiction Stories in the January issue, shortly before the magazine was closed down. Charles Hornig was the editor of all 12 issues of the first incarnation of Science Fiction , and of the first five issues of Future Fiction.

Robert W.

Robert A. W. Lowndes Papers A description of his papers at Syracuse University

Lowndes was the editor of all subsequent issues of both titles. Both Future and Science Fiction began as pulp magazines; the experimental issue of Science Fiction Stories saw a change to digest format for that title, and Future followed suit in late with issue Both titles were initially priced at 15 cents.

Future raised its price to 20 cents for the July issue, the last of its first run, but dropped to 15 cents again when it was relaunched in With the November issue the price went back to 20 cents, and it rose to 25 cents with the January issue and 35 cents in June When Science Fiction Stories reappeared in , it was priced at 35 cents, and stayed at that price throughout the remainder of its run.

Science Fiction began in March at pages. Future Fiction was pages when it was launched in November of that year, and shortly afterwards, March , Science Fiction dropped to pages. The combined magazine, Future Combined with Science Fiction , retained Future ' s page count of ; when Future was relaunched, still as a pulp, in , the page count had dropped again, to Both Future and Science Fiction Stories were pages long when they changed to digest format; Future remained at that length, but Science Fiction Stories switched to pages for nine issues, from January to May The sequence of title changes for the two magazines is summarized below.

For Science Fiction : [3] [notes 3].