Infinity, January 1958: A Retro-Review
This is the fifth installment in Rich Horton’s retro-reviews of science fiction and fantasy digest magazines from the mid-20th Century. The first four were the February 1966 Analog, the December 1965 Galaxy, the January 1966 issue of The Magazine of Fantasy & Science Fiction, and If, October 1957.
Click the images for larger versions.
The last magazine I reviewed came from October 1957, the month Sputnik was launched. This one is dated January 1958, and presumably appeared on stands a month or so after Sputnik, but was editorially complete just prior to the launch. And I’ve got another October 1957 issue coming.
So — these are, I would argue, three examples of SF magazines on the very cusp of the Space Age.
Infinity lasted from the end of 1955 through 1958, a total of 20 issues. It was published irregularly but roughly bimonthly. The editor throughout was Larry Shaw, and his work was justly very well regarded. The most famous story he published was Arthur C. Clarke’s “The Star” in the very first issue.
Shaw also edited the companion magazine, Science Fiction Adventures, which became the John Carnell-edited UK magazine by the same name (Carnell’s magazine started as a reprint edition of the US magazine, but continued with original stories after the US version folded). An earlier US magazine of that name was edited by Lester Del Rey pseudonymously, and the title was used again later for one of Sol Cohen’s horrid reprint magazines.
This issue had a cover by Ed Emshwiller, illustrating Richard Wilson’s serial “And Then the Town Took Off”, and interior illustrations by Emsh, Bill Bowman, Richard Kluga, and John Schoenherr. The only ads are the ubiquitous SFBC on the back cover (inside and out), and on the inside front cover an inhouse ad urging the reader to subscribe to Infinity and Science Fiction Adventures.
Over the last few years, I’ve been a big fan of Disney/Pixar films, but not so much of the films put out by Disney itself. While I enjoyed Tangled well enough, when compared to the Toy Story franchise or Wall-E, the more mainstream Disney movies just don’t have the same emotional impact.
About a month ago, The Avengers 
I should probably blame the whole thing on John O’Neill and Eric Knight.
This year, the home video divisions of all the major distributors banded together and plotted a full-scale assault on the wallets and bank accounts of Blu-ray owners during September and October. Only the wealthiest could possibly survive an attack that began with the first Hi-Def release of the Indiana Jones films. But the supreme weapon, the ultimate October Surprise, is Universal’s huge ebony slab of fear, nostalgia, and latex make-up: Universal Classic Monsters: The Essential Collection. Spanning twenty-three years and nine films (advertised as eight, sorry Spanish Dracula), the long-anticipated set brings the Masters of Halloween into glorious 1080p for the first time, and in perfect seasonal position to drain your money before you waste it on a Jack Sparrow costume that forty other people are also going to wear to that same party.
Ironskin
The sixteenth- and early seventeenth-century Puritan adventurer Solomon Kane is my favorite of Robert E. Howard’s serial characters: a fascinating mixture of obsession, religion, righteousness, history, and dark fantasy awesomeness. However, it’s the character I love, not necessarily the stories in which he appeared. With the exception of “Wings in the Night,” the Solomon Kane stories are mid-range pieces in Howard’s canon, not at the consistent level he delivered later with Conan, King Kull, or many of his one-shots. Solomon Kane appeared early in Howard’s short professional pulp career, with the first published story in the August 1928 issue of Weird Tales. Perhaps if Howard stayed longer with the Puritan hero while his storytelling skills increased, he might have equaled the Conan series in quality.