Infinity Science Fiction – October, 1956 (Edward Emshwiller) [Featuring “The Silver Corridor”, by Harlan Ellison]


Illustration by Edward Emshwiller, for Harlan Ellison’s story “The Silver Corridor” (p. 49)


The Magazine of Fantasy and Science Fiction – September, 1955 (Frank Kelly Freas) [Featuring “Operation Afreet”, by Poul Anderson]

Unlike the majority of science fiction (and fantasy) magazines of the 40s and 50s, The Magazine of Fantasy and Science Fiction eschewed interior art.  The issue of September, 1955 was an exception to this policy, featuring two illustrations – below – by Frank Kelly Freas, which accompanied Poul Anderson’s tale “Operation Afreet”.

(Page 11) (Page 37)

Galaxy Science Fiction – February, 1964 (Edward Emshwiller) [Featuring “Grandmother Earth”, by J.T. McIntosh]

Illustration by Virgil Finlay for “Grandmother Earth”, by J.T. McIntosh (p. 9).

Illustration by John Giunta for “Shamar’s War”, by Kris Neville (pp. 44-45).

Illustration by John Giunta for “Shamar’s War”, by Kris Neville (p. 59).

Illustration by Dwight G. Morrow for “Oh, To Be a Blobel”, by Philip K. Dick (p. 91).

Venture Science Fiction – January, 1957 (Edward Emshwiller (Ed Emsh)) [Featuring “Virgin Planet”, by Poul Anderson]

Venture Science Fiction, Volume 1, Number 1, January, 1957. 
To view Edward Emshwiller’s original cover art, visit

Illustration by Edward Emshwiller, for “Virgin Planet”, by Poul Anderson (pp. 4-5).

Cover art for Avalon Books’ edition of “Virgin Planet” (1956).


Galaxy Science Fiction – October, 1962 (Virgil Finlay) [Featuring “The Ballad of Lost C’Mell”, by Cordwainer Smith]

She got the which of the what-she-did,
Hid the bell with a blot, she did,
But she fell in love with a hominid.
Where is the which of the what-she-did?

(Cordwainer Smith)


Imagination – Stories of Science and Fantasy – June, 1951 (Hannes Bok) [Featuring “Hell’s Angel”, by Robert Bloch]

Illustration by unknown artist, for “Hell’s Angel”, by Robert Bloch (p. 6).

Walk the Dark Streets, by William Krasner – 1949 (Unknown artist)

walk-the-dark-streets-william-krasner-1950-1The Marne Hotel

The yellow fog was already creeping up around the Marne Hotel,
mingling with the white breath from the sewers,
carrying the faint, sweet, rotting scent off the Ohio River. 
It was not thick yet,
only a gentle curdling in the atmosphere,
but it laid damp greasy fingers on the crumbling granite,
on the pavement,
and on the windshield of the coupe
that Detective Captain Sam Birge of the Homicide Squad
was pulling to the curb across the street.


walk-the-dark-streets-william-krasner-1950-2He looked at his watch.  It was late now.
It was time to be on his way home.
Time to go home, to Edna, and to his son.
He got up.
Nobody called to him as he went through the outer office,
or through the brightly lit corridor.
No one was at the doors as he passed through.
It seemed to him, outside, that it should have been lighter there,
now that it was time for dawn.
But the fog was all around, a moving, blinding sheet,
and he could not see in any direction.
He lifted his eyes toward the sky.
Perhaps it was becoming lighter somewhere,
far above,
but there was not way to be sure.
He turned his collar up and stepped out into the dark street.