At the Kirk Center John Tuttle remarks on the influence that C. S. Lewis’s Space Trilogy, beginning with Out of the Silent Planet had on the maturing of science fiction:
The 1930s was a decade sprinkled with literature of all sorts that related fantastic tales concerning the goings-on of Mars and its inhabitants. Throughout the thirties, there were several installments of Edgar Rice Burroughs’s book series John Carter of Mars. Around this time, other historic literary figures took up an interest in the Red Planet and set fictional plots in revolution around this alien world. Among these was C. S. Lewis.
So it happened that 1938 witnessed a bit of a boom in the sensationalization of Martian fiction. For one, it was that year that Orson Welles delivered his radio dramatization of The War of the Worlds by H. G. Wells. A sizeable portion of its American audience mistook the news-like broadcast to be a literal invasion of some kind. In addition to this, C. S. Lewis had his first science fiction novel published that year. It was called Out of the Silent Planet, and the alien world on which the protagonist finds himself is, in fact, Mars.
To my eye the author overstates Lewis’s influence considerably. Edgar Rice Burroughs’s science fantasies hadn’t been considered mainstream science fiction for decades by that time. By and large his works were published in adventure magazines not science fiction magazines. Ironically, I can’t help but wonder if Mr. Tuttle has actually read Burroughs’s Mars series, since Lewis’s Malacandra is remarkably similar to Burroughs’s Barsoom rather than a contrast with it.
Eschatology had been treated in science fiction since the early 19th century. That certainly wasn’t an innovation of Lewis’s. Neither was the theme of “Man as invader”—that had been a commonplace theme in mainstream science fiction at least since the 1920s.
I don’t think you can present a complete account of the transformation that took place in science fiction in the 1930s without mentioning two names: Stanley G. Weinbaum and John W. Campbell.
By the 1930s “space opera” dominated science fiction. Space opera is, essentially, westerns transplanted into outer space and other worlds. The usual comparison between space opera and horse opera is usually something like this:
| Horse Opera | Space Opera |
| “Hoofs pounding, Arizona Slim rode into the dusty streets of Alkali Flats, leapt from his horse Diablo and drew his six gun to face the desperados.” | “Jets blasting, Trooper Bill Johnson emerged from his spacecraft on the desolate world of Altair IV, drew his blaster, and squared off against the space pirates.” |
The movies are still dominated by space operas: both Star Trek and Star Wars are space operas.
Stanely G. Weinbaum, who died at the tender age of 32, began to change that in the mid-1930s. His short story, “A Martion Odyssey” and his few other published works were, essentially, fusions of mainstream fiction with science fiction, very different in tone and style from the dominant space operas. Although John W. Campbell’s greatest influence was as the editor of Astounding Science Fiction later renamed Analog which continues to be published to this day, as a writer his stories emphasize character, mood, and scientific plausibility. His story, “Who Goes There?” was dramatized into the movie The Thing From Another World and remains a favorite. Their work really reflects the changes in science fiction that were emerging during the 1930s.






