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[August 10, 1963] The Future in a Divided Land, Part 3 (An Overview of Science Fiction in East and West Germany)

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by Cora Buhlert

In the last two entries in this series, I gave you an extensive overview of West German science fiction. Now let's take a look across the iron curtain at what is going on in East Germany. For while the inner German border may be nigh insurmountable for human beings, mail does pass through. A lot of us have family in the East, including myself, and are in regular contact with them via letters and parcels. Parcels from West to East Germany usually contain coffee, nylons, soap, canned pineapple and all sorts of other consumer goods that are hard to come by in Communist East Germany.

Unfortunately, we cannot send books and magazines, cause they will probably be seized at the border for fear of "dangerous" ideas spreading. East Germans, on the other hand, are free to send books and magazines to relatives and friends in the West. And since my love for reading in general and for "space books" in particular is well known to my aunts in East Germany, the occasional science fiction novel from beyond the iron curtain has found its way into my hands.

The collaborations of authors Lothar Weise and Kurt Herwarth Ball mostly seem to be fairly straightforward science fiction adventures aimed at a younger audience. Eberhardt del'Antonio's 1959 novel Titanus is set in a utopian Socialist future where humanity is united and war has been abolished. A spaceship with a multinational crew, commanded by a Russian, of course, leaves for a distant planet, only to realise that the aliens are in the middle of preparing for a devastating attack against their neighbours.

Our heroic space travellers proceed to warn the intended targets only to learn that the aliens have a defence system in place that will destroy the attackers, for war is bad. I certainly can't argue with that sentiment, though the novel itself is rather wooden and unimaginative.

Als die Götter starben (When the gods died) by Günther Krupkat, which only appeared this year, is a variation on the ancient astronaut concept. An alien spaceship is found on the moon and records indicate that the aliens first landed on Earth in Mesopotamia millennia ago. It's not exactly an original idea, but it is certainly well told.

The ancient astronaut idea certainly seems to be popular in East Germany, for another science fiction novel published this year, Der Blaue Planet (The Blue Planet) by Brazilian born author Carlos Rasch, used the same concept. Two years ago, Carlos Rasch also published Asteroidenjäger (Asteroid hunters), an enjoyable romp featuring a spaceship with a multinational crew that is supposed to clear the asteroid belt, when the ship receives mysterious signals that might be evidence of alien life or might be something else.

What makes Asteroidenjäger remarkable is that there is an interracial romance on board between a white German doctor and a black African mathematician. Somehow, I don't see something like this happening in American science fiction anytime soon.  

However, the most exciting of those voice from beyond the iron curtain is not German at all, but a Polish writer, Stanislaw Lem, whose work I encountered via East German translations. I particularly enjoy Lem's humorous stories about the adventures of a space traveller named Ijon Tichy, which have been collected as Die Sterntagebücher des Raumfahrers Ijon Tichy (The Star Diaries of the Spaceman Ijon Tichy).

Lem's more serious works include the novels Eden with its fascinating portrayal of a truly alien society, Planet des Todes (Planet of Death), which was even filmed in 1960, and the generation ship story Gast im Weltraum (Guest in Space), which is currently being filmed in Czechoslovakia.

When comparing East and West German science fiction, the most striking thing is that in spite of all the superficial differences, the underlying themes and concerns are remarkably similar. Of course, West German science fiction tends to be set in capitalist futures, which somehow have managed to abolish all the negative side effects of unfettered capitalism, while East German and East European science fiction tends to be set in utopian Socialist futures, which have somehow managed to abolish all the negative side effects of real existing Communism.

However, it is notable that both East and West German science fiction tends to feature spaceships with multinational and multiracial crews, that it is set in futures where the world and humanity are united as one, where war and strife are but a distant memory. Whether it is Perry Rhodan single-handedly ending the Cold War and uniting humanity or Stanislaw Lem's and Eberhard del'Antonio's space travellers horrified by the relics of past wars they encounter in outer space, German (and Polish) science fiction clearly expresses the desire for peace and unity, a desire that is only too understandable in our divided country.

And that's it for now. In a future article, I will take a look at science fiction film in East and West Germany, where we are currently seeing some very exciting developments.

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[July 8, 1963] The Future in a Divided Land, Part 2 (An Overview of Science Fiction in East and West Germany)

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by Cora Buhlert

I'm back to continue my overview of (West) German science fiction begun last month. Today, I'll talk about Perry Rhodan, Germany's most successful science fiction series. The brainchild of writers Clark Dalton a.k.a. Walter Ernsting and K.H. Scheer, the "Heftroman" series Perry Rhodan started two years ago, in September 1961, and will reach its landmark 100th issue in a couple of weeks.

"Unternehmen Stardust", the first issue of Perry Rhodan, begins in the not so far off future of 1971. International tensions are running high and the Western Bloc, the somewhat diminished Eastern Bloc and the rising Asian Federation are at each other's throats. In this climate, the spaceship Stardust under the command of Major Perry Rhodan of the US Space Force embarks on humanity's first trip to the moon. However, Rhodan and his crew find more than they bargained for when they come across an alien spaceship that crashed on the moon months before. Aboard the spaceship, Perry Rhodan and fellow crewmember Reginald Bull encounter the Arkonoids, a group of humanoid aliens led by the striking Thora de Zoltral and the scientist Crest de Zoltral. The Arkonoids were on a mission to locate the legendary planet of eternal life in order to heal the cancer-stricken Crest, when their ship crashed.

Thora is initially suspicious about the humans and their motives, though she is also fascinated by Perry Rhodan. Crest is more open towards the Earthmen and quickly strikes up a friendship with Rhodan, who offers to take him back to Earth for treatment (apparently, cancer treatment will make great advances in the eight years until then).

However, instead of returning to the US, Rhodan lands the Stardust with Crest on board in the Gobi desert, which he deems remote enough to keep the Arkonoids and their advanced technology out of the hands of the warring powers of Earth. For Perry Rhodan has become disillusioned with the power blocs on Earth and the resulting risk of nuclear war. So he severs his alliance with the US and the Western Bloc and declares himself a citizen of the world instead. He also founds a new state, the so-called Third Power, in the Gobi desert around the landing site of the Stardust and proceeds to recruit people from all over the world, particularly mutants with ESP powers, to his cause. And because establishing a new state requires a lot of capital, Perry Rhodan also recruits a disgraced banker named Homer G. Adams to procure said capital via clever investments. In a genre which all too often portrays galactic empires operating without any economic basis whatsoever, acknowledging that empires, galactic or otherwise, cost money is truly a breath of fresh air.

The Western Bloc, the Eastern Bloc and the Asian Federation may be at odds otherwise, but they can all agree on one thing: Perry Rhodan and his Third Power are the enemy and must be eliminated. And so they launch a nuclear strike against the Stardust landing site and the city that has sprung up around it, only to be thwarted by superior Arkonoid technology in the form of an energy dome. Eventually, the Third Power is accepted as an independent state, while the remaining three blocs change their warlike ways and finally join the Third Power to form a united world state.

Mind you, all this and more happens in the first ten issues of the series. So after having made contact with aliens, founding a state, preventing World War III, ending the Cold War and uniting and pacifying a divided Earth, the question is what will Perry Rhodan do for an encore? Well, Rhodan established a base on Venus, led an expedition to Vega, put down a robot revolt, solved the great galactic riddle and gained immortality. What is more, he also found personal happiness, when the sparks that had been flying between him and Arkonoid commander Thora blossomed into love. Perry and Thora were married and even had a son, though sadly Thora died in issue 78 published earlier this year. What is more, Thomas Cardif, Thora's and Perry's son, blames his father for his mother's death and is in the process of turning into a villain in his quest for revenge. 

Considering at what a fast clip the plot moves, it is astonishing that the writing team, still headed by Walter Ernsting a.k.a. Clark Dalton and K.H. Scheer, keeps coming up with new stories to tell. The cast continues to grow and includes such memorable characters as fan favourite Gucky, a telepathic alien rodent who just happened to look like a cross between a mouse and a beaver, and recent addition Atlan, an ancient Arkonoid who once commanded a base on the legendary continent of Atlantis and has recently woken from suspended animation, all portrayed on the striking covers by artist Johnnny Bruck. Unfortunately, the cast of Perry Rhodan is still overwhelmingly male, especially after the recent loss of Thora.

Because "Heftromane" are cheap and offer a lot of bang for buck, they are frequently read by teenagers and working class people. As a result, they frequently come under fire from the usual busybodies concerned about depictions of violence and (mild) sexuality and what these will do to impressionable minds. Until recently, those busybodies focussed their attention mainly on G-Man Jerry Cotton and the World War II series Der Landser, which actually deserves all the criticism it receives. However, with the enormous success of Perry Rhodan, the series has become a new favoured target of "Heftroman" critics. The charges levelled at Perry Rhodan are largely the same that were previously hurled at G-Man Jerry Cotton and Der Landser, namely that Perry Rhodan is fascist, that the series glorifies war and violence and that it promotes racial purity and a Führer cult. Futurist Dr. Robert Jungk even referred to Perry Rhodan as the "galactic Hitler".

So how justified are those criticisms? Well, Perry Rhodan certainly is a leader figure, immortal and almost all powerful. And initially, he is not exactly an elected leader but one who appoints himself, though this is remedied in later issues, when the Third Power and later the united world state Terra elect him as their president. What is more, the Perry Rhodan series can be heavy on action and warfare on occasion, described in loving detail by K.H. Scheer, whose penchant for fight scenes has gained him the nickname "Hand Grenade Herbert", even though Scheer did not experience any fighting in World War II, unlike his co-author Walter Ernsting. However, what the critics miss is that in spite of all the cosmic action and intergalactic warfare, Perry Rhodan is a man of peace, who strives to end the Cold War and the threat of nuclear annihilation. Perry Rhodan's friends and allies include humans of many nations and even aliens. And apart from the initial land grab in the Gobi desert, Perry Rhodan does not actually conquer other planets either. Finally, in this era of global strife, the vision of a united humanity as presented in the Perry Rhodan series is certainly seductive. Considering that the first issue came out only a few months after the building of the Berlin Wall literally cemented the division of Germany (and was almost certainly influenced by these real world events), it is not surprising that Perry Rhodan's vision of a united world has struck a chord in so many fans.

The enormous success of Perry Rhodan did not just draw the attention of critics, but also inspired other publishers to create their own ongoing science fiction series. And so Pabel, who already had a foot in the West German science fiction market with their Utopia franchise, launched a Perry Rhodan competitor named Mark Powers in 1962, initially in Utopia and later as a separate series. Mark Powers was introduced as a former military officer whose excessive courage and honesty brought him into conflict with his superiors. Now a sort of private troubleshooter, Powers and his good friend Al "Biggy" Bighead investigate mysterious objects and occurrences which inevitably involve alien invasion attempts.

The central concept is not bad and might have made for an interesting series, especially since the first few issues were penned by Freder van Holk a.k.a. Paul Alfred Müller, a true veteran of German science fiction who had penned the "Heftroman" series Sun Koh – The Heir of Atlantis and Jan Mayen – Master of Atomic Power before the war. However, audiences have moved on. The fact that Müller and his co-author K.H. Schmidt are proponents of the Hollow Earth theory and insisted on integrating it into Mark Powers didn't help either, since contemporary audiences are no longer as willing to accept stories of underground civilisations inside Earth as they were in the 1930s. And while Walter Ernsting and K.H. Scheer took great care to create plot arcs and outlines for Perry Rhodan to ensure consistency, no such efforts were made for Mark Powers. As a result, the early issues are something of a mess of unconnected stories that just happen to star two characters named Mark Powers and Al Bighead. Several early stories by authors such as J.E. Wells and Jim Parker creator Alf Tjörnsen are also obvious rewrites of earlier novels with only the names of the protagonists changed.

The publishers attempted to save Mark Powers by forcing a radical retooling of the series from issue 19 on. Paul Alfred Müller and K.H. Schmidt were ousted and Alf Tjörnsen became head author. Mark Powers got his own spaceship, the Meteor, and a regular crew. Unfortunately, the rebooted Mark Powers hewed way too close to Perry Rhodan to develop its own identity and new characters such as the alien scientist Chrech Acham and the telepathic alien bear Smarty were clearly carbon copies of Crest and Gucky of Perry Rhodan fame. As of this writing, Mark Powers is still hanging on, though it has never managed to evolve beyond a pale Perry Rhodan imitation. 

And that's it for now. Next time, we'll take a peek across the iron curtain to see what's going on in East German and East European science fiction.

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[June 8, 1963] The Future in a Divided Land (An Overview of Science Fiction in East and West Germany) Part 1

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[The Journey is joined today by talented author and fan, Cora Buhlert, who expands our coverage of the world significantly…]


by Cora Buhlert

Living in Germany, you cannot help but feel cut off from the wider world of science fiction. Therefore, I always look forward to receiving the latest issue of Galactic Journey in my mailbox, because it allows me to keep up with the latest developments in the genre in the US, the UK and elsewhere.

As a big fan of the Journey, I was thrilled to be asked to give you an overview of the current state of science fiction in Germany. Everybody who regularly follows the news will of course know that since 1949, there are not one but two Germanys: the Federal Republic of Germany, commonly referred to as West Germany, and the so-called German Democratic Republic, better known as East Germany. In the past fourteen years, the border between the two Germanys has become increasingly insurmountable, culminating in the construction of the Berlin Wall two years ago.

I am fortunate enough to live in West Germany and therefore the main focus of this article will be on West German science fiction. However, I will also take a look at what is going on in East Germany.

In the US and UK, science fiction is very much a magazine genre, even if paperback novels are playing an increasingly bigger role. In West Germany, there are a couple of science fiction publishers, such as the Balowa and Pfriem, which specialise in hardcovers aimed at the library market, as well as the paperback science fiction lines of Heyne, Fischer and Goldmann. The three paperback publishers focus mainly on translations, whereas the library publishers offer a mix of translations and works by German authors. Though Goldmann has recently started publishing some German language authors such as the promising new Austrian voice Herbert W. Franke in its science fiction paperback line.

However, the main medium for science fiction and indeed any kind of genre fiction in West Germany is still the so-called "Heftroman:" digest-sized 64-page fiction magazines that are sold at newsstands, gas stations, grocery stories and wherever magazines are sold. Whereas American and British science fiction magazines usually include several stories as well as articles, letter pages, etc…, a "Heftroman" contains only a single novel, technically a novella. "Heftromane" are the direct descendants of the American dime novel and the British penny dreadful – indeed, they are also referred to as "Groschenroman", which is a literal translation of "dime novel".

There is a huge range of "Heftromane," covering various genres. The most popular are probably the western and romance, with subgenres such as aristocratic romance, alpine romance or doctor and nurse romance. Crime and mystery series are also popular, as are adventure and war stories. By comparison to these flames, science fiction is still a small but growing flicker.

There were shortlived German language science fiction "Heftromane" published in the late 1940s in Germany, Austria and in Switzerland. However, the postwar era of (West) German "Heftroman" science fiction began exactly ten years ago in 1953, when Pabel, one of several publishers of "Heftromane", introduced its latest series Utopia – Jim Parkers Abenteuer im Weltraum. Though the first issue was anything but utopian, considering that it was set in a penal colony on the moon, where convicts are forced to shovel nuclear waste. The protagonist is Jim Parker, an American space ship commander in the employ of the Atomic Territorium. Together with his German pal Fritz Wernicke, Parker spends the next 43 issues bouncing around the solar system, while tangling with the villainous "Yellow Union". The Jim Parker stories were written by one Alf Tjörnsen whose identity remained mysterious for many years. Though Tjörnsen has recently been revealed as a pen name for author Richard Johannes Rudat.

Compared to American science fiction, the Jim Parker stories felt old-fashioned, a throwback to the 1920s and 1930s. The science was often laughably bad as well. And so, after 43 biweekly issues of Jim Parker's adventures in space, Utopia changed its name to Utopia Zukunftsroman and began alternating standalone novellas with the Jim Parker stories. Initially, those standalone stories were written by German authors, usually operating under house names, but from 1955 on, Utopia also published translations of American science fiction by authors such as John W. Campbell, Leigh Brackett and Murray Leinster, as well as Britishers like Eric Frank Russell. Due to the constraints of the "Heftroman" format with its 64 page limit, these translated works were heavily abridged. Nonetheless, to many German fans they served as the first introduction to the wider world of American science fiction.

The success of Utopia Zukunftsroman spawned several spin-offs. The first of these was Utopia Großband, a thicker 94-page "Heftroman" which debuted in 1954 and allowed for publishing translations of American science fiction novels, though once again many novels were mercilessly cut to fit the format. Utopia Sonderband, later Utopia Magazin, an anthology magazine in the style of the American science fiction magazines, followed in 1955. The final spin-off of the Utopia family was Utopia Kriminal, which debuted in 1956 and billed itself as a series focussed on futuristic crime novels, inspired by the success of the Edgar Wallace thrillers with their mixture of suspense, science fiction elements and outright horror. Utopia Kriminal published a lot of translated weird fiction by writers such as Frenchman Jean David and Americans Norvell W. Page and A. Merritt.

However, after its initial success Pabel's Utopia franchise has fallen on hard times of late. Utopia Kriminal and Utopia Magazin were cancelled in 1958 and 1959 respectively and Utopia Großband followed this year. Utopia Zukunftsroman is still hanging on for now, though the quality of the authors and stories translated has declined notably in recent years.

The reason for this is increased competition in the German science fiction market. Inspired by the success of Utopia, the "Heftroman" publisher Moewig launched its own science fiction series Terra Utopische Romane in 1957. The format was similar to Utopia Zukunftsroman, a mix of standalone science fiction novels by German authors and translations of American science fiction. However, the imitator quickly eclipsed the original, for Terra offered higher quality translations and quickly snapped up the A-list of American science fiction authors, leaving only second and third rate works for its competitor Utopia. Indeed, in some cases one novel in a series would be published under the Utopia banner, while the sequel appeared in Terra, to the frustrations of many readers. Like Utopia, Terra also spawned two spin-offs. Terra Sonderband, a thicker 96-page 'Heftroman" similar to Utopia Großband, premiered in 1958. And only last year, the reprint series Terra Extra debuted.

West German genre readers in general and science fiction readers in particular tend to be very americanophile. And so "Heftroman" publishers quickly noticed that translations of American science fiction tended to sell better than works by German authors. The fact that homegrown science fiction wasn't always up to the snuff, especially when compared to the best of American science fiction, did not help either. So magazines eventually stopped publishing original science fiction by German authors and focussed solely on translations. As a result, it became very difficult for budding German science fiction writers to persuade a publisher to take a chance on their work.

One of those budding German science fiction writers was Walter Ernsting, who first encountered science fiction while working as a translator for the allied forces after World War II and quickly fell in love with the genre. In 1955, Ernsting cofounded the Science Fiction Club Deutschland, Germany's biggest fan club. By the mid 1950s, Walter Ernsting was working as an editor and translator for the Utopia line, but was unable to get his own novels published. So the enterprising Ernsting passed off his own writing as the work of a fictional British author named Clark Dalton and promptly had it accepted. Clark Dalton's stories were well received by the readers of the various Utopia titles and so Ernsting kept on writing and publishing as Clark Dalton, even after the secret of his identity was revealed. Nor was Walter Ernsting the only German writer who circumvented publisher prejudice by writing under a British or American sounding pen name. Instead, westerns, science fiction and crime 'Heftromane" are full of German writers pretending to be Americans with varying success. 

In 1958, Ernsting left Pabel for competitor Moewig to work on the Terra line of 'Heftromane". Terra was more open to publishing German authors than Utopia and one of their stars was K.H. Scheer, a prolific young author who had gotten his start writing for the library hardcover lines of Balowa and Pfriem.

Together, Ernsting and Scheer came up with the idea to create an ongoing science fiction series focussed on the adventures of a central character. Now "Heftroman" series following the exploits of a single character are popular in the crime genre – the best know example is probably G-Man Jerry Cotton, which chronicles the adventures of a fictional FBI agent in New York City – but were largely unknown in science fiction following the demise of the rather bland Jim Parker. Nonetheless, Ernsting and Scheer persuaded Moewig to take a chance on their idea and retreated to Ernsting's home in the idyllic Bavarian village of Irschenberg to hammer out the details and come up with a rough plot outline for the first ten issues.

The result, entitled Perry Rhodan – der Erbe des Universums (Perry Rhodan – Heir to the Universe), debuted on September 8, 1961 and has quickly become a sensation in the twenty months since, turning into West Germany's most successful "Heftroman" series with a monthly print run of approximately one million. Unlike the old-fashioned and rather dull Jim Parker stories, Perry Rhodan literally starts with a bang and only keeps getting better. Initially planned to last between thirty and fifty issues, Perry Rhodan is now closing in on issue 100. If the authors manage to keep up the quality, I can see this series lasting a very long time indeed.

And that's it for today. Next time, I'll give you an overview of the Perry Rhodan series and the competitors spawned by its enormous success. I hope you have enjoyed!

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