" Boucher and McComas, however, were less enthusiastic, faulting the book for being " simply padded, occasionally with startlingly ingenious gimmickry,.

Boucher and McComas praised Chronicles as " a poet's interpretation of future history beyond the limits of any fictional form ".

Boucher and McComas gave The Illustrated Man a mixed review, faulting the framing story as " markedly ineffective " and the story selection for seeming " less than wisely chosen.

Boucher and McComas found the novel to be " a fine example of serious pulp science fiction .".

Boucher and McComas characterized The Puppet Masters as " a thunderously exciting melodrama of intrigue ", noting that Heinlein displayed " not only his usual virtues of clear logic, rigorous detail-work, and mastery of indirect exposition ", but also unexpected virtues like " a startling facility in suspense devices a powerful ingenuity in plotting ".

Boucher and McComas characterized Beyond This Horizon as among " the finest science fiction novels of the modern crop .".

" Boucher and McComas named it among the best sf novels of 1951, characterizing it as " more mature than most ' adult ' science fiction .".

" Boucher and McComas praised it for its " good character-development, rousing adventure-telling, and brilliant creation of several forms of extra-Terrestrial life.

" Boucher and McComas named Farmer " just about the only mature science fiction novel of the year, describing it as " a magnificently detailed study of the technological and human problems of interplanetary colonization.

Boucher and McComas praised the 1950 edition as Heinlein " at his superlative best .".

" Boucher and McComas, however, described the collection as " mpressive in its time, and important in the development of modern science fiction ," but found it highly uneven, " with pages worthy of the mature 1954 Heinlein.

Boucher and McComas praised it as " easily the most plausible, carefully detailed picture of an interplanetary future we will encounter in any year ".

Boucher and McComas, however, were more sceptical, finding fault with the novel's " curious imbalance between its large-scale history and a number of episodic small-scale stories.

Boucher and McComas praised it, saying " rarely have the details of collapse been treated with such detailed plausibility and human immediacy, and never has the collapse been attributed to such an unusual and terrifying source .".

Boucher and McComas praised Eric Brighteyes, saying that " nothing has been written in English that matches this complete comprehension of the blend of the fury and mysticism that was that greatest of anomalies, the Viking.

Boucher and McComas found the first installments of the series " a most misguided venture, well below juvenile TV or comic book average in crudity of prose, construction, character and ideas.

Boucher and McComas were disappointed by the novel, saying that despite Asimov's good ideas, " his heavy treatment and routine plot are disappointing.

Reviewing the 1953 American edition for a genre audience, Boucher and McComas were unsympathetic.

Boucher and McComas, however, found it " competent enough writing and thinking, if on the dull side .".

" Boucher and McComas, however, were disappointed by it, saying that while the stories it was based on were first-rate, the novel-length expansion had become " talkative, oversimplified, lacking in suspense or conflict, and, in short, just not adding up to an adequate novelistic treatment of a splendidly stated theme.

" Boucher and McComas, however, panned the volume, declaring that " Anyone with a nodding acquaintance with Gibbon, Breasted, or Prescott will find no new concepts save the utterly incomprehensible ones contained in the author's own personal science of ' psycho-history '.

" Boucher and McComas named it to their " year's best " list, describing it as " Human, satirical, and excisting ;.

It began as The Magazine of Fantasy ( Fall 1949 ), with Anthony Boucher and J. Francis McComas as editors.

Boucher was writing radio scripts in the late 1940s, but he left dramatic radio in 1948, as he explained to William F. Nolan, " mainly because I was putting in a lot of hours working with J. Francis McComas in creating what soon became The Magazine of Fantasy and Science Fiction.

In actuality, four years passed as Boucher and McComas attempted to launch their magazine of fantasy and supernatural stories.

" Anthony Boucher praised the novel, saying " Matheson has added a new variant on the Last Man theme ... and has given striking vigor to his invention by a forceful style of storytelling which derives from the best hard-boiled crime novels ".

Anthony Boucher praised the volume as " a masterly narration of tremendous and terrible climactic events ," although he also noted that Tolkien's prose " seems sometimes to be protracted for its own sake.

" Boucher and McComas praised the novel, saying that Clarke handled scientific detail " with so sensitive a poetic understanding that this simple factual narrative is more absorbing than the most elaborately plotted galactic epic .".

Boucher and McComas, for example, praised Freddy and the Spaceship, saying it " offers wit, sound structural plotting, genuine character-humor, and admirable English prose.

" Anthony Boucher praised the novel as a convincingly real, scientifically detailed story of the near future, yet infused with that sense of wonder and excitement that we sometimes think vanished from literature about the time our voices changed.

" Anthony Boucher, however, characterized most of the shorter pieces as inferior work, excluded from Clarke's previous collection, but praised two ( unspecified ) novelettes as " uniquely authentic Clarke.

Reviewing a 1952 edition, Boucher and McComas praised the novel lavishly, describing it as " one of the major imaginative novels of this century " and " the detailed creation of a vividly heroic alien history.

Boucher and McComas praised the stories in The Alabaster Hand as " quietly terrifying modernizations of the M. R.

Boucher and McComas praised the novel as " a witty version of the Connecticut Yankee theme, distinguished by its lore of Gothic Rome.

Boucher and McComas praised Weapon Shops as " a fine excitingly involved melodrama.

Anthony Boucher praised the novel as " utterly delightful.

" Boucher and McComas praised " this brief but intense book " as " beautiful ," describing it as " poetry and awe and wonder " and characterizing Clarke as " the visionary poet of a future so far distant that its most prosaic science passes our technical understanding.

" In F & SF, Boucher and McComas selected the novel as one of the best sf books of 1953, describing it as " humanly convincing "; they praised the novel as " a solid and admirable story of small-scale human reactions to vast terror.

He was a winner of the Houghton Mifflin Award for his novel The Vintage ( 1949 ) ( published in Britain as On A Dark Night ), which Boucher and McComas praised as " a brilliantly terrifying exploration of the theme that each age creates its own peculiar species of hell and Devil.

" Boucher and McComas praised the novel as " a taut, surrealistic melodrama a masterful compounding of science and detective fiction ," singling out Bester's depiction of a " ruthless and money-mad that is dominated and being subtly reshaped by telepaths " as particularly accomplished.

Anthony Boucher found Blish's protagonist " a credible and moving figure ," and praised the opening segment ; however he faulted the later material for " los focus and impact " and " wander " to an ending that seems " merely chaotic.

Anthony Boucher praised Coates as " one of the most persuasive recorders of the unaccountable and disturbing moment ," singling out his fantasy stories for their " haunting tone of uncertainty and dislocation.

Reviewing the Ace Double release, Anthony Boucher praised the novel as " built up with the detail of a Heinlein and the satire of a Kornbluth.