Language defines science fiction as “fiction in which scientific developments and discoveries form an element of plot or background; especially a work of fiction based on prediction of future scientific possibilities.”

So, by dictionary definition and a lot of discussions with Campbell and fellow writers of that time, science fiction has to do with the material universe and sciences; these can include economics, sociology, medicine and suchlike, all of which have a material base.

Then what is fantasy?

Well, believe me, if it were simply the application of vivid imagination, then a lot of economists and government people and such would be fully qualified authors! Applying the word “imaginative” to fantasy would be like calling an entire library “some words. “ Too simplistic, too general a term.

In these modern times many of the ingredients that make up “fantasy” as a type of fiction have vanished from the stage. You hardly even find them in encyclopedias anymore. These subjects were spiritualism, mythology, magic, divination, the supernatural, and many other fields of that type. None of them had anything really to do with the real universe. This does not necessarily mean that they never had any validity or that they will not again arise; it merely means that man, currently, has sunk into a materialistic binge.

The bulk of these subjects consists of false data, but there probably never will come a time when all such phenomena are explained. The primary reason such a vast body of knowledge dropped from view is that material science has been undergoing a long series of successes. But I do notice that every time modern science thinks it is down to the nitty-gritty of it all, it runs into (and sometimes adopts) such things as the Egyptian myths that man came from mud, or something like that. But the only point I am trying to make here is that there is a whole body of phenomena that we cannot classify as “material. “ They are the nonmaterial, nonuniverse subjects. And no matter how false many of the old ideas were, they still existed; who knows but what there might not be some validity in some bits of them. One would have to study these subjects to have a complete comprehension of all the knowledge and beliefs possible. I am not opening the door to someone's saying I believe in all these things: I am only saying that there is another realm besides dedicated– and even simple-minded– materialism.

“Fantasy, “ so far as literature is concerned, is defined in the dictionary as “literary or dramatic fiction characterized by highly fanciful or supernatural elements. “ Even that is a bit limited as a definition.

So fantasy could be called any fiction that takes up elements such as spiritualism, mythology, magic, divination, the supernatural, and so on. The Arbian Nights was a gathering together of the tales of many, many countries and civilizations– not just of Arabia as many believe. It s actual title was A Thousand and One Nights of Entertainment. It abounds with examples of fantasy fiction.

When you mix science fiction with fantasy you do not have a pure genre. The two are, to a professional, separate genres. I notice today there is a tendency to mingle them and then excuse the result by calling it “imaginative fiction. “ Actually they don't mix well: science fiction, to be credible, has to be based on some degree of plausibility; fantasy gives you no limits at all. Writing science fiction demands care on the part of the author; writing fantasy is as easy as strolling in the park. (In fantasy, a guy has no sword in his hand; bang, there's a magic sword in his hand.) This doesn't say one is better than the other. They are simply very different genres from a professional viewpoint.

But there is more to this: science fiction, particularly in its Golden Age, had a mission. I cannot, of course, speak for my friends of that period. But from Campbell and from “shooting the breeze” with other writers of the time, one got the very solid impression that they were doing a heavy job of beating the drum to get man to the stars.

At the beginning of that time, science fiction was regarded as a sort of awful stepchild in the world of literature. But worse than that, science itself was not getting the attention or the grants or the government expenditures it should have received. There has to be a lot of public interest and demand before politicians shell out the financing necessary to get a subject whizzing.

Campbell's crew of writers were pretty stellar. They included very top-liner names. They improved the literary quality of the genre. And they began the boom of its broader popularity.

A year or so after The Golden Age began, I recall going into a major university's science department. I wanted some data on cytology for my own serious researches. I was given a courteous reception and was being given the references when I noticed that the room had been gradually filling up. And not with students but with professors and deans. It had been whispered around the offices who was in the biology department, and the next thing I knew, I was shaking a lot of hands held out below beaming faces. And what did they want to know: What did I think of this story or that? And had I seen this or that writer lately? And how was Campbell?

They had a literature! Science fiction!

And they were proud of it!

For a while, before and after World War II, I was in rather steady association with the new era of scientists, the boys who built the bomb, who were beginning to get the feel of rockets. They were all science fiction buffs. And many of the hottest scientists around were also writing science fiction on the side.

In 1945 I attended a meeting of old scientist and science fiction friends. The meeting was at the home of my dear friend, the incomparable Bob Heinlein. And do you know what was their agenda? How to get man into space fast enough so that he would be distracted from further wars on Earth. And they were the lads who had the government ear and authority to do it! We are coming close to doing it. The scientists got man into space and they even had the Russians cooperating for a while.

One can't go on living a naive life believing that everything happens by accident, that events simply follow events, that there is a natural order of things and that everything will come out right somehow. That isn't science. That's fate, kismet, and we're back in the world of fantasy. No, things do get planned. The Golden Age of science fiction that began with Campbell and Astounding Science Fiction gathered enough public interest and readership to help push man into space. Today, you hear top scientists talking the way we used to talk in bull sessions so long ago.

Campbell did what he set out to do. So long as he had his first wife and others around him to remind him that science was for people, that it was no use to just send machines out for the sake of machines, that there was no point into going into space unless the mission had something to do with people, too, he kept winning. For he was a very brilliant man and a great and very patient editor. After he lost his first wife, Dona, in 1949– she married George O. Smith– and after he no longer had a sounding-board who made him keep people in stories, and when he no longer had his old original writing crew around, he let his magazine slip back, and when it finally became named Analog, his reign was over. But The Golden Age had kicked it all into high gear. So Campbell won after all.

When I started out to write this novel, I wanted to write pure science fiction. And not in the old tradition. Writing forms and styles have changed, so I had to bring myself up to date and modernize the styles and patterns. To show that science fiction is not science fiction because of a particular kind of plot, this novel contains practically every type of story there is-detective, spy, adventure, western, love, air war, you name it. All except fantasy; there is none of that. The term “science” also includes economics and sociology and medicine where these are related to material things. So they're in here, too.