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Frederik Pohl: Golden Age Space Opera Tales

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Frederik George Pohl Jr. (November 26, 1919 – September 2, 2013) was an American science-fiction writer, editor, and fan, with a career spanning more than 75 years—from his first published work, the 1937 poem "Elegy to a Dead Satellite: Luna", to the 2011 novel All the Lives He Led and articles and essays published in 2012.From about 1959 until 1969, Pohl edited Galaxy and its sister magazine If; the latter won three successive annual Hugo Awards as the year's best professional magazine. His 1977 novel Gateway won four "year's best novel" awards: the Hugo voted by convention participants, the Locus voted by magazine subscribers, the Nebula voted by American science-fiction writers, and the juried academic John W. Campbell Memorial Award. He won the Campbell Memorial Award again for the 1984 collection of novellas Years of the City, one of two repeat winners during the first 40 years. He won four Hugo and three Nebula Awards, including receiving both for the 1977 novel Gateway.Space Opera is a subgenre of science fiction that emphasizes space warfare, melodramatic adventure, interplanetary battles, chivalric romance, and risk-taking. Set mainly or entirely in outer space, it usually involves conflict between opponents possessing advanced abilities, futuristic weapons, and other sophisticated technology.The term has no relation to music, as in a traditional opera, but is instead a play on the terms "soap opera", a melodramatic television series, and "horse opera", which was coined during the 1930s to indicate a formulaic Western movie. Space operas emerged in the 1930s and continue to be produced in literature, film, comics, television, and video games.The Golden Age of Pulp Magazine Fiction derives from pulp magazines (often referred to as "the pulps") as they were inexpensive fiction magazines that were published from 1896 to the late 1950s. The term pulp derives from the cheap wood pulp paper on which the magazines were printed. In contrast, magazines printed on higher-quality paper were called "glossies" or "slicks". (Wikipedia)The pulps gave rise to the term pulp fiction. Pulps were the successors to the penny dreadfuls, dime novels, and short-fiction magazines of the 19th century. Although many writers wrote for pulps, the magazines were proving grounds for those authors like Robert Heinlein, Louis LaMour, "Max Brand", Ray Bradbury, Philip K. d**k, and many others. The best writers moved onto longer fiction required by paperback publishers. Many of these authors have never been out of print, even long after their passing.  Anthology contains:- The Five Hells of Orion- Survival Kit- My Lady Greensleeves- The Knights of Arthur- The Tunnel Under the World- Pythias- The Hated- The Day of the Boomer Dukes- Asteroid of the Damned (with Dirk Wylie)- Plague of PythonsScroll Up and Get Your Copy Now.

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THE FIVE HELLS OF ORION-1
THE FIVE HELLS OF ORION BY FREDERICK POHL Out in the great gas cloud of the Orion Nebula McCray found an ally—and a foe! - - - - * * * * IHIS NAME WAS HERRELL McCray and he was scared. As best he could tell, he was in a sort of room no bigger than a prison cell. Perhaps it was a prison cell. Whatever it was, he had no business in it; for five minutes before he had been spaceborne, on the Long Jump from Earth to the thriving colonies circling Betelgeuse Nine. McCray was ship’s navigator, plotting course corrections—not that there were any, ever; but the reason there were none was that the check-sightings were made every hour of the long flight. He had read off the azimuth angles from the computer sights, automatically locked on their beacon stars, and found them correct; then out of long habit confirmed the locking mechanism visually. It was only a personal quaintness; he had done it a thousand times. And while he was looking at Betelgeuse, Rigel and Saiph ... it happened. The room was totally dark, and it seemed to be furnished with a collection of hard, sharp, sticky and knobby objects of various shapes and a number of inconvenient sizes. McCray tripped over something that rocked under his feet and fell against something that clattered hollowly. He picked himself up, braced against something that smelled dangerously of halogen compounds, and scratched his shoulder, right through his space-tunic, against something that vibrated as he touched it. McCray had no idea where he was, and no way to find out. Not only was he in darkness, but in utter silence as well. No. Not quite utter silence. Somewhere, just at the threshold of his senses, there was something like a voice. He could not quite hear it, but it was there. He sat as still as he could, listening; it remained elusive. Probably it was only an illusion. But the room itself was hard fact. McCray swore violently and out loud. It was crazy and impossible. There simply was no way for him to get from a warm, bright navigator’s cubicle on Starship Jodrell Bank to this damned, dark, dismal hole of a place where everything was out to hurt him and nothing explained what was going on. He cried aloud in exasperation: “If I could only see!” He tripped and fell against something that was soft, slimy and, like baker’s dough, not at all resilient. A flickering halo of pinkish light appeared. He sat up, startled. He was looking at something that resembled a suit of medieval armor. - - - -

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