The Fantasy Fan, November 1933: The Fans' Own Magazine

In Short

This collection serves as a primary historical record of the early science fiction fan movement, capturing the passionate, often contentious dialogue between readers, amateur critics, and fledgling writers. It functions as a time capsule, preserving the literary criticism, short fiction, and social directories that defined the genre's formative years in the 1930s. The material has lasted because it highlights the transition of science fiction from pulp escapism to a self-conscious literary movement, documenting the exact moment when fans began to organize, catalog, and champion the authors who would eventually define the field.

The Story

The narrative arc of this issue is one of community formation and internal debate. It opens with the "Our Readers Say" section, where a group of dedicated correspondents—some of whom would become legendary, such as H.P. Lovecraft—exchange critiques of the magazine's content and argue over the merits of specific authors like Clark Ashton Smith and Forrest J. Ackerman. This initial discourse establishes the central tension of the era: the struggle to define the boundaries between "science fiction" and "fantasy" or "weird" literature.

The story proceeds through a series of instructional and critical essays that attempt to codify the genre. Readers are treated to H.P. Lovecraft’s scholarly examination of "Supernatural Horror in Literature," a piece that lends a sense of historical weight to the field. Following this, the publication shifts to the practicalities of the fan lifestyle, including advice on how to collect magazines, how to write science fiction stories, and how to join the newly formed "Fantasy Fan Fraternity."

The tone is remarkably candid, reflecting a group that felt both marginalized and energized by their shared obsession. The "Boiling Point" section serves as a battleground where readers vent their frustrations, particularly regarding the perceived low quality of "stf" (science fiction) compared to the sophisticated, atmospheric horror they preferred. This conflict is balanced by shorter, atmospheric pieces of fiction, such as "The Other Gods" and "The Shadow From Above," which illustrate the high-fantasy aesthetic the editors aimed to cultivate.

The arc concludes with a broader look at the industry. The magazine provides a professionalized overview of the "science fiction" landscape, complete with lists of upcoming publications and bibliographic data. By the time the reader reaches the "Celebrities I've Met" column, the focus has shifted from the content of the stories to the personas of the creators themselves. The book ends not with a traditional finale, but with a call to action: the advertisement of the "Fantasy Fan Fraternity" and the transition of related publications into a more established magazine format. It leaves the reader with a sense of a community mid-transformation, moving from disorganized letters to a coordinated, global network of enthusiasts who, through their persistent interest, helped build the foundations of modern genre appreciation.

How It Unfolds

The debate begins Readers immediately voice their opinions on the previous issues, specifically targeting the perceived arrogance of fellow fan Forrest J. Ackerman. The tension between fans of hard science fiction and those who prefer cosmic, weird fantasy becomes the dominant theme of the discourse.

The scholarly foundation H.P. Lovecraft contributes a serious essay on the history of cosmic fear, elevating the magazine from a mere newsletter to a forum for literary theory. This provides the community with a sense of historical legitimacy and intellectual rigor.

The mechanics of fantasy The text offers practical advice for readers, ranging from how to build a collection of rare magazines to the satirical "How to Write a Stf Story." These beats show a community actively analyzing the components of their favorite genre.

The call to fellowship The magazine introduces the Fantasy Fan Fraternity, formalizing the loose connections between readers into a structured organization. This move signals the transition of fantasy fandom into a cohesive, self-sustaining social movement.

The industry perspective The final sections catalog the state of the wider magazine market and look toward the future of the publication. The focus shifts from internal debates to the external realities of the publishing world, documenting the end of the year's growth.

The People

The figures in this text are not characters in a story, but rather a cross-section of a pioneering subculture. Charles D. Hornig, the editor, acts as the central hub, attempting to balance the conflicting demands of his contributors while maintaining a sense of order. H. P. Lovecraft provides the intellectual gravitas, acting as a mentor figure whose refined aesthetic preferences heavily influence the magazine’s content.

Forrest J. Ackerman occupies the role of the controversial, highly visible collector; he is simultaneously a hero for his dedication and a target for those who find his self-promotion grating. Clark Ashton Smith emerges as the community's favorite son, a writer whose atmospheric, weird fiction is held up as the gold standard of the genre. Meanwhile, figures like Allen Glasser and Conrad H. Ruppert represent the administrative backbone of the movement, focusing on the practical work of forming clubs and managing the logistics of fan correspondence. These individuals are driven by a singular, obsessive desire: to find others who share their love for the fantastical and to validate their own interests through collective study and creation.

In Its Own Voice

"Children will always be afraid of the dark, and men with minds sensitive to hereditary impulse will always tremble at the thought of the hidden and fathomless worlds or strange life which may pulsate in the gulfs beyond the stars."

H.P. Lovecraft explains the universal, evolutionary roots of the literary genre known as cosmic fear.

"The hero must chase the villain all over the universe, because the villain has the heroine in his vile clutches. Don't forget the word vile. Nobody has ever used that."

In a satirical guide to writing, the author mocks the repetitive and derivative tropes common in the pulp science fiction of the era.

What It's Really About

At its core, this book is about the human need to find a tribe. It captures the psychological experience of being a "fan" before the term had widespread social currency. The text explores the tension between intellectual ambition and the limitations of a pulp-magazine format. It asks: Can a group of isolated readers turn their shared obsession into a legitimate culture? The underlying argument is that science fiction and fantasy are not merely disposable entertainment, but a valid subject for history, criticism, and social organization. It documents the transition from solitary reading to communal participation, proving that the creation of a "canon" is often the work of the readers rather than the publishers.

Why Read It Today

Readers with an interest in the history of pop culture will find this volume deeply rewarding. It provides the "DNA" of the modern fan convention, the fanzine, and the internet forum, all occurring in a pre-digital, 1930s context. To read it is to feel the electricity of a new community discovering itself; there is a tangible sense of excitement in the way contributors list their addresses or argue over the "correct" way to appreciate a story.

However, modern readers should be prepared for the realities of the period. The attitudes can be insular, and the casual, sometimes biting tone of the letters reflects the youthful, combative nature of the early fandom scene. You will encounter outdated references and a preoccupation with "scientifiction" tropes that may feel alien today. Yet, the warmth of the writing and the sheer historical curiosity of seeing these giants of literature—like Lovecraft and Smith—interacting in the margins is a rare treat. It is a vital, honest look at the birth of a literary movement. If you want to understand how science fiction fandom evolved from a scattered collection of letter-writers into the organized, global force it is today, this book is an indispensable starting point.