Full record for fantastic n.

Definition	that which is fantastic
OED requirements	antedating 1948
Earliest cite	Joseph de Celis in Thrilling Wonder Stories
Comment	Jeff Prucher submitted a 2002 cite from the editorial introduction to Robert Reed's "The Sleeping Woman" in F&SF. Jeff Prucher submitted a 1987 cite from an article by D.W. Taylor in "Horrorstruck". Jeff Prucher submitted a 2002 cite from Garky K. Wolfe in "Conjunctions:39". Jeff Prucher submitted a 1981 cite from Ben Bova's "We Have Met the Mainstream...". Irene Grumman submitted a 1987 cite from the titles of the books "Forms of the Fantastic" and "The Fantastic in World Literature and the Arts". Fred Galvin submitted a 1948 cite from a letter in Thilling Wonder Stories. Fred Galvin submitted a 1947 cite from a letter in Startling Stories. In addition to antedatings, we would like to interdate this term between 1948 and 1981.
Last modified	6 July, 2008

Citations for fantastic n.

click here for more information about the citation list

1947 Startling Stories May 101/1	I've read some good verse dealing with the weird and fantastic and since I like poetry I would love to see Startling Stories with such a department.
1948 Thrilling Wonder Stories June 129/1	Oh, please—isn't it about time for another Kuttner full-length fantastic?
1948 Thrilling Wonder Stories June 128/1	Lovecraft must have something people like; he is virtually the only legend to survive from the literature of the macabre, or supernatural, or fantastic. He is about the sole writer of the weird I would include with the best of older horror writers—William Hope Hodgson, Arthur Machen, and Algernon Blackwood.
1981 B. Bova We Have Met The Mainstream . . . in F. Herbert Nebula Winners Fifteen 175	As L. Sprague de Camp has been pointing out for years, the literature of the fantastic was the mainstream of world storytelling from the time writing began until the beginning of the Seventeenth Century A.D.
2002 G. K. Wolfe Malebolge, or Ordnance of Genre in Conjunctions No. 39	What passed for literary debate about the nature of the fantastic was by now purely proletarian: in the letter columns of the magazines, a farmer from Kansas might have an equal platform with the writers and editors themselves, and might even have an edge, since he (or she) was holding next month's quarter.
2002 D. Layne & J. Lake Polyphony 1 (unpaginated),	SF, Fantasy and Horror—the genres of the ostensibly fantastic—have long ago hit the snooze button and rolled back over for a long lazy hibernation.