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Chicago: Popular Publications, Inc., 1935. Octavo, single issue, cover by Walter Baumhofer, pictorial wrappers. Pulp magazine. Fiction by Frederick Nebel, James K. Butler, John Lawrence and others. Cook, Mystery, Detective and Espionage Magazine, pp. 168-170.
Chicago: Popular Publications, Inc., 1935. Octavo, single issue, cover by Walter Baumhofer, pictorial wrappers. Pulp magazine. Pulp magazine. Fiction by Frederick C. Davis, Hugh Cave, Fred MacIsaac, and others. Cook, Mystery, Detective and Espionage Magazine, pp. 168-170.
Chicago: Popular Publications, Inc., 1935. Octavo, single issue, cover by Walter Baumhofer, pictorial wrappers. Pulp magazine. Cook, Mystery, Detective and Espionage Magazine, pp. 168-170.
New York, NY: Street & Smith Publications, Inc., 1941. Octavo, single issue, cover by Emery Clarke, pictorial wrappers. Pulp magazine. "The Mindless Monsters" by Kenneth Robeson. "Doc Savage was intended to be an adventure character, but under Lester Dent's imaginative manipulations he became something more-the first superhero and an inspiration for countless pulp, comic-book, and television characters." - Cook, Mystery, Detective and Espionage Magazines, pp. 521-527. Tymm and Ashley, Science Fiction, Fantasy, and Weird Fiction Magazines, pp. 183-185.
Chicago: Better Publications, Inc., 1948. Octavo, single issue, cover by Bergey, pictorial wrappers. Pulp magazine. Includes "Sanatoris Short-Cut" a Mignus Ridolph story by Jack Vance. Also includes "What Mad Universe" by Fred Brown and a story by John D. MacDonald,
Munich, Dreilander Verlag, 1919-1920 (volume 1, numbers 1-18 and volume 2, numbers 1-24). Large octavo, forty-two issues, original pictorial wrappers. Forty-two issues, comprising the first and second volumes (of three) of a historically important and aesthetically sumptuous publication devoted to the macabre, "... likely the first specialized fantasy magazine in the world" (Clute and Grant [eds], The Encyclopedia of Fantasy , p. 399). "The material here is more grotesque than arabesque, more weird than wonderful. Inevitably (but misleadingly) it is compared with the weird pulps of America that soon followed. In its selection of material, its design, its production -- even its sponsors -- DER ORCHIDEENGARTEN aimed at a more sophisticated market than the American pulps. True, it was printed on pulp paper, but it was guided by the high standards of a slick -- a weird slick, if you will -- and, in fact, a 'collector's' edition of the magazine was printed on art paper. The material, both graphic and literary, was strongly flavored -- there's no question about that -- and can be seen as part of the postwar German Expressionist movement while continuing the long tradition of European grotesque and fantastic art. The artwork strikes one as independent of or collaborative with rather than subordinate to the fiction; it strikes one as art, not just as illustration. In addition to mostly new material, the magazine reprinted some older illustrations from Beardsley, Tony Johannot, Hogarth, Dore, Holbein, etc. just as it included translations of classic weird tales and poems by de Maupassant, Poe, etc. (but fewer than in the first volume). Short reviews of phantastic literature rounded out the magazine. The twenty-four-page publication contained six or seven pages of ads -- and not from radio repair correspondence schools. One should not gather from these facts that the material was in any way polite or anemic. The whole dichotomy of pulp vs. slick, genre fiction vs. literary fiction, crude-but-strong vs. polished-but-weak is irrelevant and extraneous to this magazine. Even without a knowledge of German, one can safely describe the material as lurid and nightmarish. The magazine expresses the disillusionment and decadence of the Weimar Republic, which would rot and provide the soil for the rise of Hitler (who in turn despised the kind of modernist and decadent aesthetics found here). The magazine avoids the cartoonish style that would characterize the English-language pulps, the tendency towards the exaggerated, simplified and formulaic. In doing so, it also eliminates the infantile and comic overtones of the cartoon, which effectively take the edge off the horror. One suspects, in fact, that laying it on thick is a way of covering up the horror while pretending to do just the opposite, reassuring the reader even as you try to thrill him. DER ORCHIDEENGARTEN is a pulp for grownups. The Balkanization of fiction set in motion by the pulps has deprived fiction both inside the genre ghettoes and outside them of the vigor that results only from hybridization. If DER ORCHIDEENGARTEN had continued and flourished, if it had inspired like efforts in other countries, the course of modern literary history might have been very different. In this regard, it offers a glimpse of a parallel literary universe, a garden indeed: small and isolated but vibrant, exotic and gorgeous. The magazine was edited by Karl Hans Strobl, a writer and editor who was instrumental in the revival of weird fiction in Germany that started around the turn of the century. Curiously, two other students who attended the Technicum at Bingen, Germany with him were Otto Witt, who edited an eccentric one-man science fiction magazine in Sweden from 1916 to 1920 called HUGIN; and Hugo Gernsback, who fathered American genre science fiction a few years later." - Robert Eldridge. DER ORCHIDEENGARTEN "flourished for only three years, from 1919 till 1921. This large-format magazine (similar to the pulp 'bedsheet') must surely rank as one of the most beautiful fantasy magazines ever published ... Although two issues of DER ORCHIDEENGARTEN were devoted to detective stories, and one to erotic stories about cuckolds, it was a genuine fantasy magazine." - Rottensteiner, The Fantasy Book, pp. 82-83. Karl Hans Strobl (1877-1946) was "one of the most important of the fantasy writers of the fantasy renaissance taking place in Germany from about 1900 until 1930 ... He edited the Austrian-German magazine DER ORCHIDEENGARTEN during its three years of existence, 1919-1921, making it into a leading science fiction and fantasy magazine that published practically all the leading European writers in the genre ... During its brief life, DER ORCHIDEENGARTEN was a good and intelligent science fiction magazine ...." - Lundwall, Science Fiction: An Illustrated History, pp. 187-189. An "important, beautiful, and extremely rare fantasy magazine ... probably the first magazine of its kind in the world, and one of the finest." - Franz Rottensteiner, "German-Language Fantasy Since 1900" in Survey of Modern Fantasy Literature V, p. 2401. Tymn and Ashley (eds), Science Fiction, Fantasy, and Weird Fiction Magazines, p. 866. Bloch (2002) 3070.
Pasadena, TX: Glenn Lord, 1961-1973. Small octavo, printed wrappers. All published. A major source for material by and about Robert E. Howard. Many Howard poems, letters and fragments of fiction are printed here for the first time. Most issues are scarce, especially the early numbers.