Fiction Writing and Editing
Boucher (as he was more commonly known) was admired for his mystery writing but was most noted for his editing, his science fiction anthologies, and his mystery reviews for many years in The New York Times. He was the first English translator of Jorge Luis Borges, translating "El jardín de senderos que se bifurcan" for Ellery Queen's Mystery Magazine. He helped found the Mystery Writers of America in 1946 and, in the same year, was one of the first winners of the MWA's Edgar Award for his mystery reviews in the San Francisco Chronicle. He was founding editor (with J. Francis McComas) of The Magazine of Fantasy & Science Fiction from 1949 to 1958, and was seminal in attempting to make literary quality an important aspect of science fiction. He won the Hugo Award for Best Professional Magazine in 1957 and 1958. Boucher also edited the long-running Best from Fantasy and Science Fiction anthology series, 1952-1959.
Boucher wrote short stories for many of the most distinguished American fiction magazines, including Adventure, Astounding, Black Mask, Ed McBain’s Mystery Book, Ellery Queen's Mystery Magazine, Galaxy Science Fiction, The Master Detective, Unknown Worlds and Weird Tales.
His short story "The Quest for Saint Aquin" was among the stories selected in 1970 by the Science Fiction Writers of America as one of the best science fiction short stories of all time. As such, it was published in The Science Fiction Hall of Fame Volume One, 1929-1964.
Boucher was the friend and mentor of science-fiction writer Philip K. Dick and others. His 1942 novel Rocket to the Morgue, in addition to being a classic locked room mystery, is also something of a roman à clef about the Southern California science fiction culture of the time, featuring thinly-veiled versions of personalities such as Robert A. Heinlein, L. Ron Hubbard and rocket scientist/occultist/fan Jack Parsons.
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Famous quotes containing the words fiction, writing and/or editing:
“The purpose of a work of fiction is to appeal to the lingering after-effects in the reader’s mind as differing from, say, the purpose of oratory or philosophy which respectively leave people in a fighting or thoughtful mood.”
—F. Scott Fitzgerald (1896–1940)
“Faithfulness to the past can be a kind of death above ground. Writing of the past is a resurrection; the past then lives in your words and you are free.”
—Jessamyn West (1902–1984)
“In this century the writer has carried on a conversation with madness. We might almost say of the twentieth-century writer that he aspires to madness. Some have made it, of course, and they hold special places in our regard. To a writer, madness is a final distillation of self, a final editing down. It’s the drowning out of false voices.”
—Don Delillo (b. 1926)