The Flickr Fanthorpe Image Generatr

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This page simply reformats the Flickr public Atom feed for purposes of finding inspiration through random exploration. These images are not being copied or stored in any way by this website, nor are any links to them or any metadata about them. All images are © their owners unless otherwise specified.

This site is a busybee project and is supported by the generosity of viewers like you.

“Doomed World” by R. L. Fanthorpe. London: John Spencer/Badger Books, SF Series No. 25 (1960). Cover art by Carlo Jacono. by lhboudreau

© lhboudreau, all rights reserved.

“Doomed World” by R. L. Fanthorpe. London: John Spencer/Badger Books, SF Series No. 25 (1960).  Cover art by Carlo Jacono.

Looks to be a Jacono copy of the Ace D-103 cover, credited to Ed Valigursky.

"The Invaders Left the World Facing the Deadliest Peril in its History"

Fanthorpe’s “Doomed World,” as described on the back cover:

“George Mallory was out for a quiet day’s shooting. A typical countryman in typical English country. His day’s sport was interrupted by the be beginning of the greatest catastrophe in man’s history – an alien space ship was crashing at his feet.

“The ghastly monstrosity that emerged was so hideously repulsive that no one would have guessed at the degree of intelligence and potential friendliness in its strange mind.

“Mallory shot first and asked questions afterwards. With its dying strength, the alien cursed the earth with a scientific horror beyond the comprehension of man, a horror that turned the beasts against us.

“The only escape seemed to be out in space . . . but the devastating effect of the cosmic rays, wrought havoc in the minds of the space men and the lunar expedition turned upon itself in deadly carnage.

“What would be the outcome of the terrible conflict between man and beast?

“Doomed World is a masterly authentic science fiction thriller from the able pen of R. Lionel Fanthorpe, M.B.I.S.

“It needs no further recommendation.”

“The Unconfined” by R.L. Fanthorpe. London: John Spencer & Co./Badger Books SN-102 (April, 1966). Cover art by Henry Fox. by lhboudreau

© lhboudreau, all rights reserved.

“The Unconfined” by R.L. Fanthorpe. London: John Spencer & Co./Badger Books SN-102 (April, 1966). Cover art by Henry Fox.

"A girl . . . a thing from Beyond . . . a nightmare adventure."

“Anthropologists argue over the significance of Neanderthal and Cro-Magnon remains, and vast periods of pre-history remain to be filled satisfactorily. These hidden eras of the long-dead past are as open to speculation and mysterious adventure as the unguessed vistas of tomorrow. How many strange, undiscovered species of man have lived and died leaving no apparent record of their existence?

“An avalanche on the Swiss-Italian border isolated Marian Sanderson and a frightening assortment of other guests in a peculiar old alpine château. Although no human rescue party was able to make the climb, something moved on the precipitous slopes around them.

“As Marian gradually discovered the truth about her fellow guests she realized the avalanche had been no accident. Something of terrible potential lurked outside the isolated château. . . Dark, supernatural forces were poised on the brink of Ultimate Fear. . .” [From the back cover]

Love by POC Photo Company

© POC Photo Company, all rights reserved.

Love

Mural at St Leonards by Rosie Fanthorpe

“Exit Humanity” by Leo Brett (aka, R.L. Fanthorpe). London: John Spencer & Co./Badger Books SF-40 (1960). Uncredited cover art (likely Ed Valigursky). by lhboudreau

© lhboudreau, all rights reserved.

“Exit Humanity” by Leo Brett (aka, R.L. Fanthorpe).  London: John Spencer & Co./Badger Books SF-40 (1960).  Uncredited cover art (likely Ed Valigursky).

“Ghost towns were the rule . . . not the exception . . . the world was empty!”

From the back cover:

The ties of home were strong. In a few years man gets attached to bricks and mortar, and scenery. In a hundred years roots are so deep that no one wants to tear them up. In a thousand years it is quite unthinkable. In a million years, only a lunatic would want to leave . . .

Then came the alien, presenting an impossible choice . . . Humanity must leave the Earth – or die! Behind them was everything they had known. In front of them, an unknow tomorrow.

Which were the greater – the hazards of remaining, or the dangers of the infinite void ahead?

Could they trust the alien?

He said there was another world, a safe world, that would be a new home – but was it all a trap?

There were dangers out there. The dangers of a population confined in ships for half a life-time; the dangers of cosmic radiation; danger of attacks by the “Others”!

Only men of the highest courage and the greatest integrity could hope to survive in the raw, searing savagery of the unknown . . .

Hyperspace Itallian by Hedrin

© Hedrin, all rights reserved.

Hyperspace Itallian

Hand of Doom Italian by Hedrin

© Hedrin, all rights reserved.

Hand of Doom Italian

Frozen Planet Italian by Hedrin

© Hedrin, all rights reserved.

Frozen Planet Italian

March Of The Robots Italian by Hedrin

© Hedrin, all rights reserved.

March Of The Robots Italian

“Space Trap” by Thornton Bell (aka, R.L. Fanthorpe). London: John Spencer & Co./Badger Books SF-98 (1964). Cover Art by Henry Fox. by lhboudreau

© lhboudreau, all rights reserved.

“Space Trap” by Thornton Bell (aka, R.L. Fanthorpe).  London: John Spencer & Co./Badger Books SF-98 (1964).  Cover Art by Henry Fox.

“What was the source of the stranger’s incredible power?”

From the back cover:

They were trying out a new drive when a cosmic accident took them incalculable light years off course. A miracle of courage and astrogation meant that there were some survivors from the inevitable crash. The ship itself did not escape unscathed. What had been their vehicle became their prison. The buckled lock could not be opened from the inside and they had no other means of getting free. The air was slowly running out.

The planet they had hit was raw and primitive by their own standards, but it did hold intelligent life. One of the natives found the ship. Dare the trapped space travelers hope for a miracle? If they got out what kind of strange life forms would they be involved with? Could they hope to find the types of raw materials which would get their crippled ship into space again? If not, could they face life sentences on this strange, unknown, primitive world . . .?

Faced by a thousand fantastic difficulties the astronauts battled untiringly for their right to survive.

“Suspension” by Bron Fane (aka, R.L. Fanthorpe). London: John Spencer & Co./Badger Books SF-102 (1964). Cover Art by Henry Fox. by lhboudreau

© lhboudreau, all rights reserved.

“Suspension” by Bron Fane (aka, R.L. Fanthorpe).  London: John Spencer & Co./Badger Books SF-102 (1964).  Cover Art by Henry Fox.

“The suspended animation chamber was her only chance of reaching the future.”

From the back cover:

Catherine Wilder was a strange girl, lovely but lonely. Sir Henry Wilder, her father, was the kind of eccentric, medical researcher who preferred to work in complete isolation. Catherine withdrew deeper into herself as the oppressing loneliness of her father’s remote mansion weighed upon her mind.

When she first heard the voice she wondered whether the mansion was haunted, then she feared for her sanity. But it was neither madness nor the supernatural which threatened her.

Mezak appeared to her suddenly in the twilight of the mansion’s gloomy corridors. He was more romantic than her wildest dreams. Although some of his language was beyond her understanding at first, it gradually became possible for them to communicate. Mezak was from the future, the remote future, but Catherine slowly realized that she was in love with him! Her father’s strange research into super-freezing and suspended animation gave her only a remote chance of reaching him, but she was prepared to take the chance. As Catherine placed herself in the freezing chamber, numbness and darkness crept over her. . .Would she ever open those beautiful eyes again?

“The Synthetic Ones” by Lionel Roberts (aka, R. L. Fanthorpe). London: John Spencer & Co./Badger Books SF-52 (1961). Uncredited cover art. by lhboudreau

© lhboudreau, all rights reserved.

“The Synthetic Ones” by Lionel Roberts (aka, R. L. Fanthorpe).  London:  John Spencer & Co./Badger Books SF-52 (1961). Uncredited cover art.

“What Would Happen in a World Where Synthetic Humans Could Be Mass Produced”

From the back cover:

Is there a Destiny? Does Fate impose a limit? What Barrier stands between man and the creation of life?

Since the legendary failure of the ill-fated Frankenstein, man has tried time and time again to pass those limits. He has created androids, clumsy robots of flesh and blood. He has made men of metal and servants of plastic, with wheels for limbs and magnetic tapes for voices. Man has made things by cross breeding the animal kingdom and distorting Nature’s intentions . . . but man has never yet made man. Or has he?

Frobisher thought that he had the answer. It wasn’t a clumsy Synthetic. It wasn’t an Android, or a Robot, it was a real flesh and blood human being.

The beautiful woman in his arms was the product of a laboratory experiment, not the result of a natural biological process. But how could he prove it?

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Badger Books were published between 1959 and 1967 in a number of genres, predominantly war, westerns, romance, supernatural and science fiction. In common with other “pulp” or mass-market publishers of the time, Badger Books focused on quantity rather than quality. A new title in each of the major genres appeared each month, generally written to tight deadlines by low-paid authors. One of the most remarkable facts about Badger Books is that much of its output was produced by just two authors (using a range of house names and other pseudonyms). John Glasby (over 300 novels and short stories) and Robert Lionel Fanthorpe (over 200 novels and stories). [Wikipedia]

“Projection Infinity” by Karl Zeigfreid (aka, R. L. Fanthorpe). Clovis, California: Vega Books VSF-12 (1965). Cover Art by Henry Fox. (US edition of Badger Books SF-103 originally published in London) by lhboudreau

© lhboudreau, all rights reserved.

“Projection Infinity” by Karl Zeigfreid (aka, R. L. Fanthorpe). Clovis, California:  Vega Books VSF-12 (1965).  Cover Art by Henry Fox. (US edition of Badger Books SF-103 originally published in London)

“If the computer had a mind of its own, what did it plan for humanity?”

From the back cover:

Helen Powell was a punch card operator in the test office of Elcomp, the largest and most dynamically progressive computer manufacturing company in the West.

A saboteur, acting for a totalitarian regime, eluded the security network and attempted to destroy the new, top secret Mark IX, the greatest computer Elcomp had ever constructed. Unfortunately for the saboteur, the Mark IX had inbuilt defence mechanisms and the secret agent died in a holocaust of high voltage sparks. From that time onwards Helen began to notice strange changes in the great electronic thinking machine. It seemed to her that the Mark IX was developing something which might almost have been described as a personality. She tried to dismiss the thoughts as imagination . . . then the face appeared . . . if it was a face! Helen saw an image on the computer’s main screen. It was a face, yet not a human face in the accepted sense. The most horrible thing about it was the resemblance it bore to the dead agent.

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Vega Books published 14 books from 1963 to 1965 which were written under several house names, but most were written by Lionel Fanthorpe and John S. Glasby. The books were published in Clovis, California in the same style as Badger Books in the UK.

“Power Sphere” by Leo Brett (aka, R. L. Fanthorpe). London: John Spencer & Co./Badger Books SF-95 (1963). Cover Art by Henry Fox. by lhboudreau

© lhboudreau, all rights reserved.

“Power Sphere” by Leo Brett (aka, R. L. Fanthorpe).  London:  John Spencer & Co./Badger Books SF-95 (1963).  Cover Art by Henry Fox.

This Power Sphere existed long before BoBoiBoy and his quest to save the Power Spheres and defend our galaxy.

“Out there beyond the planet something incredible was watching.”

From the back cover:

Salford had an unenviable assignment. Beyond the security of the in-worlds there were a number of dark, mysterious unexplored planets, hostile to life, hated and feared by the experienced spacemen. Salford neither hated nor feared them. He was a man doing a job.

He reached the assignment world and set out to explore what might have been the ruins of a long dead alien civilization.

As he left the safety of his ship he was aware that he was not alone. Someone or something watched his every move. At last he glanced into the sky . . .

Perhaps it was a mirage, perhaps it was an hallucination. Salford felt that if there was an answer, it must lie somewhere buried among the distant ruins. He reached them and began to explore. The more he learned of the incredible civilization that had once existed, the more mysterious the aerial phenomena became. Finally he discovered what seemed to be the clue, and yet he was no nearer a real solution to the problem. Although the evidence pointed to the ancient civilization being extinct there were things among the ruins that didn’t make sense unless some trace of the Ancients lived on.

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Badger Books were published between 1959 and 1967 in a number of genres, predominantly war, westerns, romance, supernatural and science fiction. In common with other “pulp” or mass-market publishers of the time, Badger Books focused on quantity rather than quality. A new title in each of the major genres appeared each month, generally written to tight deadlines by low-paid authors. One of the most remarkable facts about Badger Books is that much of its output was produced by just two authors (using a range of house names and other pseudonyms). John Glasby (over 300 novels and short stories) and Robert Lionel Fanthorpe (over 200 novels and stories). [Wikipedia]

“Escape to Infinity” by Karl Zeigfreid (aka, R.L. Fanthorpe). London: John Spencer & Co./Badger Books SF-82 (1963). Cover Art by Henry Fox. by lhboudreau

© lhboudreau, all rights reserved.

“Escape to Infinity” by Karl Zeigfreid (aka, R.L. Fanthorpe).  London:  John Spencer & Co./Badger Books SF-82 (1963).  Cover Art by Henry Fox.

“If man can mutate, why not the Universe itself?”

From the back cover:

Mike Sterne was a man with problems. His environment included an unknown quantity in the form of an eccentric alien scientist and a determined corps of totalitarian militia with orders to liquidate him.

A rigidly imposed authoritarian social structure can only be undermined by a superior ideology. Sterne encountered that ideology on the other side of an electronic gateway through the X dimensions, a gateway to the infinite universe of the microcosm and the macrocosm.

His enemies also discovered a route through the continuum . . . but they didn’t reach the same world that Sterne had found.

This is a scientifically authentic novel dealing with the sophisticated problem of the conflict of men and the conflict of ideals against a compellingly real futuristic background.

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Badger Books were published between 1959 and 1967 in a number of genres, predominantly war, westerns, romance, supernatural and science fiction. In common with other “pulp” or mass-market publishers of the time, Badger Books focused on quantity rather than quality. A new title in each of the major genres appeared each month, generally written to tight deadlines by low-paid authors. One of the most remarkable facts about Badger Books is that much of its output was produced by just two authors (using a range of house names and other pseudonyms). John Glasby (over 300 novels and short stories) and Robert Lionel Fanthorpe (over 200 novels and stories). [Wikipedia]

“Neuron World” by R. L. Fanthorpe. London: John Spencer & Co./Badger Books SF-108 (1965). Cover Art by Henry Fox. by lhboudreau

© lhboudreau, all rights reserved.

“Neuron World” by R. L. Fanthorpe.  London: John Spencer & Co./Badger Books SF-108 (1965).  Cover Art by Henry Fox.

“Her Dream Became a Nightmare as She Probed the Alien Ruins.”

From the back cover:

The human personality has been defined by leading psychologists as the integrated and dynamic organization of physical, mental, moral and social qualities. A personality is the product of heredity and environment. Every experience records itself in the neurons of the brain producing an almost infinite number of possible combinations. Brains are as individual as fingerprints.

In an infinite universe, however, there is a possibility that somewhere – separated by vast distances of Time and Space – two exactly similar brains exist. The strange telepathic bond between identical twins could operate between identical minds.

Melinda Tracey was a practical, intelligent, modern girl who didn’t believe in dreams – even recurring dreams – but her odd sleep experiences of the ruined city, and the strangely-suited figure who searched it, disturbed her considerably.

What incredible psychological bond linked Melinda to the lonely stranger, probing the wreckage of an alien metropolis?

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Badger Books were published between 1959 and 1967 in a number of genres, predominantly war, westerns, romance, supernatural and science fiction. In common with other “pulp” or mass-market publishers of the time, Badger Books focused on quantity rather than quality. A new title in each of the major genres appeared each month, generally written to tight deadlines by low-paid authors. One of the most remarkable facts about Badger Books is that much of its output was produced by just two authors (using a range of house names and other pseudonyms). John Glasby (over 300 novels and short stories) and Robert Lionel Fanthorpe (over 200 novels and stories). [Wikipedia]

“The FACE of X” by Lionel Roberts (aka, R. L. Fanthorpe). London: John Spencer & Co./Badger Books SF-39 (1960). Cover Art by Ed Emshwiller (Emsh). Re-used cover from Ace D-237. by lhboudreau

© lhboudreau, all rights reserved.

“The FACE of X” by Lionel Roberts (aka, R. L. Fanthorpe). London: John Spencer & Co./Badger Books SF-39 (1960).  Cover Art by Ed Emshwiller (Emsh). Re-used cover from Ace D-237.

“Man Had Always Dreamed of Immortality . . . The Dream Became a Nightmare.”

From the back cover:

They woke up to the smell of danger. No one could see it. None of them could hear it. But it was there. Lurking . . . intangible . . . inaudible . . . invisible. The space around them was alive with it. They breathed it into their lungs. It crept through the pores of their skins. It was the dreaded presence of “X the Unknown.”

Why had Jon seen that face in his dreams over and over again? Was it real, or did it belong to the uncanny half world of pure mental projection? He glimpsed it again in a patch of moving shadow . . . He fancied he saw it taking shape on the video screen, “only the screen was switched off.”

He saw it next on the control panel. A trick of reflection from a thousand switches, dials and levers. Maybe . . . But dials and levers don’t talk to a man . . . Reflections don’t send a tough space patrol crew screaming in terror.

Then Jon put the impossible facts together and came up with a pattern. The X face was a personality projection . . . the planet itself was alive.

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Badger Books were published between 1959 and 1967 in a number of genres, predominantly war, westerns, romance, supernatural and science fiction. In common with other “pulp” or mass-market publishers of the time, Badger Books focused on quantity rather than quality. A new title in each of the major genres appeared each month, generally written to tight deadlines by low-paid authors. One of the most remarkable facts about Badger Books is that much of its output was produced by just two authors (using a range of house names and other pseudonyms). John Glasby (over 300 novels and short stories) and Robert Lionel Fanthorpe (over 200 novels and stories). [Wikipedia]

“Somewhere Out There” by Bron Fane (aka, R. L. Fanthorpe). London: John Spencer & Co./Badger Books SF-92 (1963). Cover Art by Henry Fox. by lhboudreau

© lhboudreau, all rights reserved.

“Somewhere Out There” by Bron Fane (aka, R. L. Fanthorpe). London: John Spencer & Co./Badger Books SF-92 (1963). Cover Art by Henry Fox.

“Time and Space Meant Nothing to the Killer from Tomorrow.”

From the back cover:

They dragged an unidentifiable body of a man out of the Thames. Routine enquiries led nowhere and the case was shelved. Superintendent Harry Lee retired and reopened the case for his own satisfaction. An orthodox approach had led nowhere, so Lee tried a few unorthodox methods. That was when he heard the story of the Flying Saucer. Lee was experienced enough to tell a crank from a reliable witness. The Saucer-man was no crank. At last Lee saw the disc-ship for himself and met its pilot. He went aboard and took a trip into the unknown. Apparently the Saucer-pilot was working on the same case from a different angle and Lee realized why it had been impossible to identify the body . . . it didn’t belong. There were some more disappearances to account for . . .

This is a sophisticated novel of complex human problems set against a compellingly authentic science fiction background. The trouble is, it might really happen!

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Badger Books were published between 1959 and 1967 in a number of genres, predominantly war, westerns, romance, supernatural and science fiction. In common with other “pulp” or mass-market publishers of the time, Badger Books focused on quantity rather than quality. A new title in each of the major genres appeared each month, generally written to tight deadlines by low-paid authors. One of the most remarkable facts about Badger Books is that much of its output was produced by just two authors (using a range of house names and other pseudonyms). John Glasby (over 300 novels and short stories) and Robert Lionel Fanthorpe (over 200 novels and stories). [Wikipedia]

“Space-Borne” by R. L. Fanthorpe, M.B.I.S (with Patricia Fanthorpe). London: John Spencer & Co./Badger Books SF-20 (1959). Cover Art by Eddie Jones. by lhboudreau

© lhboudreau, all rights reserved.

“Space-Borne” by R. L. Fanthorpe, M.B.I.S (with Patricia Fanthorpe).  London: John Spencer & Co./Badger Books SF-20 (1959).  Cover Art by Eddie Jones.

“The Ship Was the Only Home They Had Ever Known . . . Earthmen, in Name Only.”

From the back cover:

It was a proud moment in the earth’s history, when twenty-four dedicated volunteers set off, on that bright summer morning in 1993, to conquer the vastnesses of inter-stellar space. They did not hope to accomplish their Herculean task in the meagre span of human life. It was their descendants who would walk out onto the, as yet undiscovered, planets of the alien stars . . . or so they dreamed.

There were dire perils ahead of them. Damage to their engines, radio-activity the invisible killer, space madness, and the failure of the life giving hydroponic tanks which supplied their oxygen. Yet the worst enemy of all was the enemy within themselves. The human failure of men and women, locked in the close confines of the Star Ship.

Then there was the Alien Ship . . . Friend or foe? . . . Saviour or destroyer? “Space-Borne” is an authentic and sophisticated thriller from that master of Science Fiction, R. Lionel Fanthorpe, the well-known schoolmaster author.

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Badger Books were published between 1959 and 1967 in a number of genres, predominantly war, westerns, romance, supernatural and science fiction. In common with other “pulp” or mass-market publishers of the time, Badger Books focused on quantity rather than quality. A new title in each of the major genres appeared each month, generally written to tight deadlines by low-paid authors. One of the most remarkable facts about Badger Books is that much of its output was produced by just two authors (using a range of house names and other pseudonyms). John Glasby (over 300 novels and short stories) and Robert Lionel Fanthorpe (over 200 novels and stories). [Wikipedia]

“Hand of Doom” by R. L. Fanthorpe (with Patricia Fanthorpe). London: John Spencer & Co./Badger Books SF-44 (1960). Cover Art by Ed Emshwiller by lhboudreau

© lhboudreau, all rights reserved.

“Hand of Doom” by R. L. Fanthorpe (with Patricia Fanthorpe).  London: John Spencer & Co./Badger Books SF-44 (1960).  Cover Art by Ed Emshwiller

“They Came from Infinity to Destroy Man’s Earthly Paradise.”

From the back cover:

It was a great world in the fortieth century. No economic problems. No work. Robots and androids everywhere. Every girl a princess, every man a king. Pleasure, parties, amusements, art, drama and literature were the ultimate goal of every man, woman and child.

When people have too much leisure there is danger. They grow soft and effete. There hadn’t been a standing army on earth for a thousand years. There hadn’t been a single warrior for five hundred. Then the Masked Swordsmen began breaking up the pleasure parties, after the swords came guns, stolen from the museums. Then . . . worse . . . far, far worse.

But that wasn’t all. There were rumours of alien ships in the sky. Ships manned by a savage blue skinned humanoid race. Ships landed. Blues were enslaved. More blues came. Earthmen and women were captured in reprisal.

Who were the blues? Why did they come? What was their history? What were their plans for the future? Would the human race survive . . .?

----------------------------------------------------

Badger Books were published between 1959 and 1967 in a number of genres, predominantly war, westerns, romance, supernatural and science fiction. In common with other “pulp” or mass-market publishers of the time, Badger Books focused on quantity rather than quality. A new title in each of the major genres appeared each month, generally written to tight deadlines by low-paid authors. One of the most remarkable facts about Badger Books is that much of its output was produced by just two authors (using a range of house names and other pseudonyms). John Glasby (over 300 novels and short stories) and Robert Lionel Fanthorpe (over 200 novels and stories). [Wikipedia]

“The X-Machine” by John E. Muller (aka, R. L. Fanthorpe with Patricia Fanthorpe). London: John Spencer & Co./Badger Books SF-74 (1962). Cover Art by Henry Fox. by lhboudreau

© lhboudreau, all rights reserved.

“The X-Machine” by John E. Muller (aka, R. L. Fanthorpe with Patricia Fanthorpe).  London: John Spencer & Co./Badger Books SF-74 (1962).  Cover Art by Henry Fox.

“The Ultimate Weapon had been unleashed, humanity could only wait.”

From the back cover:

Sally McQuire worked for an unusual organization. She was an undercover agent for the I.P.F., but her friends knew her only as a scatter-brained night club dancer. Then came the Thing. At first there were just odd paragraphs in provincial papers. A cow disappeared. Fish stopped biting. Finally Jon Vardo, a shepherd, vanished without a trace. The I.P.F. put Sally on the track. She discovered a strange common denominator linking the events. There was a mathematical and geographical sequence. Sally arranged to be at the next danger zone, and then she too vanished. This is a story of humanity at its best, locked in a life and death struggle with a cruel, cold culture of Beings from the Beyond. This is a story of humanity fighting against incredible odds and fantastic weapons. Can the mind of man hold its own against deadly, sinister intelligence from beyond the stars?

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Badger Books were published between 1959 and 1967 in a number of genres, predominantly war, westerns, romance, supernatural and science fiction. In common with other “pulp” or mass-market publishers of the time, Badger Books focused on quantity rather than quality. A new title in each of the major genres appeared each month, generally written to tight deadlines by low-paid authors. One of the most remarkable facts about Badger Books is that much of its output was produced by just two authors (using a range of house names and other pseudonyms). John Glasby (over 300 novels and short stories) and Robert Lionel Fanthorpe (over 200 novels and stories). [Wikipedia]