Amazing Stories Quarterly

It was launched by Hugo Gernsback as a companion to his Amazing Stories, the first science fiction magazine, which had begun publishing in April 1926.

Authors whose work appeared in Amazing Stories Quarterly include Stanton A. Coblentz, Miles J. Breuer, A. Hyatt Verrill, and Jack Williamson.

Milton Wolf and Mike Ashley are more positive in their assessment; they consider the work Sloane published in the early 1930s to be some of the best in the new genre.

After a short period in receivership, they were acquired by Bergan Mackinnon, who sold them on to Bernarr Macfadden's Teck Publications.

In 1932 the magazine, which was probably never very profitable, began to suffer from financial problems, and the quarterly schedule became irregular after the Winter 1932 issue.

[7] Gernsback included a letter column, and began a competition for the best editorials submitted by readers; the first prize was awarded to Jack Williamson, later to become a successful science fiction writer but at that time just starting his career.

Wolf and Ashley cite "Paradox", by Charles Cloukey, an early time-travel story; The Bridge of Light, by A. Hyatt Verrill, a novel about a lost civilization in South America; The Birth of a New Republic, by Miles J. Breuer and Jack Williamson, in which a man of the 24th century reminisces about a revolt by the inhabitants of the Moon against the Earth; "Paradise and Iron", by Breuer; and White Lily, by Eric Temple Bell, under the pseudonym John Taine, about a form of crystal life that endangers the planet.

[2] Everett Bleiler, the author of a detailed review of the first ten years of science fiction magazines, is less complimentary, describing John W. Campbell, Jr.'s space operas, which appeared from 1930 to 1932, as "turgid", and commenting that only a dozen or so of the stories in the magazine's entire run "might have been considered worth reading if one could put oneself back in the 1930s, accepting the standards of the time".

[1][2] Bleiler mentions three authors, Coblentz, Taine, and Breuer, as having produced notably original material, but adds that their work was "not strong enough for mainstream fiction" and had "too little action and too much sophistication for pulp".