Question: Who used the imprint of Badger Books to publish books in a number of genres, including the genre that must have an emotionally satisfying and optimistic ending?

full_context: Document 1: Tagalog pocketbooks: According to Tatin Yang in the article "Romansang Pinoy: A day with Tagalog romance novels", Tagalog romance paperbacks were thin Philippine versions of romance novel books that could be found at the bottom shelves of the romance section of bookstores, wrapped and bound with book covers that are decorated with Philippine comics-styled illustrations, such as "a barrio landscape with a badly dressed guy and girl locked in an embrace". As a form of "escapist fiction" (escapism) and "commercial literature", Tagalog romance novels generally follow a "strict romance formula", meaning the narratives have happy endings (a factor influencing the salability of the novel), the protagonists are wealthy, good-looking, smart, and characters that cannot die. Normally, the hero or heroine of the story falls in love and "goes crazy" over the admired person. However, later authors of Tagalog romance novels deviated from portraying so-called "damsel-in-distress and knight-in-shining-armor characters". Contemporary writers also turned away from writing "rags-to-riches plots". The stereotypical norm had been replaced by the incorporation of storylines with "interesting scenes, characters [who are ready to face challenges or to sacrifice themselves for the benefit of other people], dialogues, and new angles to old plots". Authors such as Maria Teresa Cruz San Diego, who used the pen names Maia Jose and Tisha Nicole, ventured into the fantasy romance genre, and into topics that are related to politics, ecology, gender issues, prostitution, mail-order bride syndicates, white slavery, non-governmental organizations, and breastfeeding programs. Apart from writing about ideal lovers (men and women) and ideal situations, other novelists wrote about true-to-life settings, or at least based the stories from personal experiences. Thus, Tagalog romance novels came to mirror or replicate the "roles that women and men play" in Philippine society.
Document 2: Erotic romance novels: Erotic romance novels are stories written about the development of a romantic relationship through sexual interaction. The sex is an inherent part of the story, character growth, and relationship development, and could not be removed without damaging the storyline.
Document 3: John Glasby: John Stephen Glasby (23 September 1928 – 5 June 2011) was a prolific author born in the United Kingdom whose work spanned a range of popular genres. A professional research chemist and mathematician, he produced more than 300 novels and short stories during the 1950s and 1960s, most of which were published pseudonymously under the Badger Books imprint.
Document 4: Time travel romance: Time travel romance is a subgenre of romantic fiction associational to Paranormal romance. Time travel romance focuses on romantic love and includes an element of time travel. Time travel romance stories may or may not have a happily ever after ending. Jude Deveraux's A Knight in Shining Armor is one of the best known time travel romance novels of all time, famous for the lack of a happily ever after ending. Time travel romances feature at least one character transported to an unfamiliar time period. A recurring theme is the conflict of falling in love and subsequently the character must decide to stay in the alternate time or return to the time he/she came from.
Document 5: Metahistorical romance: Metahistorical Romance is a term describing postmodern historical fiction, defined by Amy J. Elias in "Sublime Desire: History and Post-1960s Fiction." Elias defines metahistorical romance as a form of historical fiction continuing the legacy of historical romance inaugurated by Sir Walter Scott but also having ties to contemporary postmodern historiography. In particular, in metahistorical romance, poststructuralist play invokes the "historical sublime" as defined in the work of Hayden White. Metahistorical romance--such as Thomas Pynchon's novel "Mason & Dixon"--attempts to recuperate the sublime untouchability of the past, to reach History and know it, but paradoxically in the context of the political. As with the Kantian sublime, the postmodern historical sublime is not the grasp of the sublime object itself but a kind of ironic awareness of the inaccessibility of the sublime object. There is a yearning that resembles the yearning for mystical knowledge at the core of the search for the historical sublime, and thus the concept ties contemporary historical fiction to a literary history (that of the historical novel), a type of historiography (postmodern, post-"Annales" historiography), and a spiritual questing. Elias argues that the postmodern imagination confronts the historical sublime rather than represses it; confronts it as repetition and deferral; seeks sublime History but simultaneously has lost faith in the storytelling needed to do so; and consequently has ties to, but reverses the dominant of, the traditional Anglo-American historical novel. The term "metahistorical romance" also builds upon work by Linda Hutcheon, whose term "historiographic metafiction" described the ironic stance of contemporary historical fiction.
Document 6: Definitions of science fiction: There have been many attempts at defining science fiction. This is a list of definitions that have been offered by authors, editors, critics and fans over the years since science fiction became a genre. Definitions of related terms such as "science fantasy", "speculative fiction", and "fabulation" are included where they are intended as definitions of aspects of science fiction or because they illuminate related definitions—see e.g. Robert Scholes's definitions of "fabulation" and "structural fabulation" below. Some definitions of sub-types of science fiction are included, too; for example see David Ketterer's definition of "philosophically-oriented science fiction". In addition, some definitions are included that define, for example, a science fiction story, rather than science fiction itself, since these also illuminate an underlying definition of science fiction.
Document 7: Roc Books: Roc Books is a fantasy imprint of Penguin Group, as part of its New American Library. It was launched in April 1990 after Penguin Chairman Peter Mayer asked John Silbersack, the editor in chief of New American Library's science-fiction program, to launch a new imprint that would draw more attention to Penguin's SF presence. The name Roc Books was chosen as a homage to Penguin's many famous bird-named publishing imprints. Roc was named after the enormous predatory bird of the Arabian Nights. After Penguin's merger with G.P. Putnam's Sons the imprint was aligned with Ace books and the current editorial team at Roc is the same team that edits the Ace imprint, although the two imprints maintain a separate identity.
Document 8: Encounter Books: Encounter Books is an American conservative book publisher. It draws its name from "Encounter", the now defunct literary magazine founded by Irving Kristol and Stephen Spender.
Document 9: Badger Books: Badger Books was an imprint used by the British publisher John Spencer & Co. between 1960 and 1967. Badger Books were published in a number of genres, predominantly war, westerns, romance, supernatural and science fiction. The best-known author of Badger Books is Lionel Fanthorpe, who wrote a large proportion of the supernatural and science fiction titles.
Document 10: Serif (publisher): The company's list covers the subjects of history, politics, travel, culture and fiction, with book jackets — described as "works of art in themselves" — designed by Pentagram Berlin. Alongside original titles, reissues feature prominently in Serif's output, including Evelyn Waugh's 1932 account of his travels in Guiana and Brazil, "92 Days" (with an afterword by Pauline Melville), George Dangerfield's "The Strange Death of Liberal England", Norman Cohn's "Warrant for Genocide", Jorge Semprún's "The Cattle Truck", works by J. M. Synge, as well as significant cookery books such as "The Alice B. Toklas Cookbook" and the Glenfiddich Award-winning titles by Édouard de Pomiane, "Cooking in Ten Minutes" and "Cooking with Pomiane". Among other authors published by Serif are Steve Aylett, Chitrita Banerji, Frances Bissell, Gerald Brenan, E. H. Carr, Nuruddin Farah, Chenjerai Hove, Federico García Lorca and George Rudé. Primarily a publisher of printed books, Serif began producing e-books in 2012.
Document 11: Vargo Statten Science Fiction Magazine: Vargo Statten Science Fiction Magazine (later Vargo Statten British Science Fiction Magazine, The British Science Fiction Magazine and The British Space Fiction Magazine) was a British science fiction magazine which published nineteen issues between 1954 and 1956. It was initially published by Scion Press, with control passing to a successor company, Scion Distributors, after Scion went bankrupt in early 1954. At the end of 1954, as part payment for a debt, Scion Distributors handed control of the magazine to Dragon Press, who continued it for another twelve issues. E.C. Tubb and John Russell Fearn were regular contributors, and Kenneth Bulmer also published several stories in the magazine. Barrington Bayley's first published story, "Combat's End", appeared in May 1954. The editor was initially Alistair Paterson, but after seven issues Fearn took the helm: "Vargo Statten" was one of Fearn's aliases, and the magazine's title had been chosen because of his popularity. Neither Paterson nor Fearn had enough of a budget to attract good quality submissions, and a printing strike in 1956 brought an end to the magazine's life.
Document 12: Science fiction: Science fiction (often shortened to SF or sci-fi) is a genre of speculative fiction, typically dealing with imaginative concepts such as futuristic science and technology, space travel, time travel, faster than light travel, parallel universes, and extraterrestrial life. Science fiction often explores the potential consequences of scientific and other innovations, and has been called a "literature of ideas". It usually avoids the supernatural, and unlike the related genre of fantasy, historically, science-fiction stories were intended to have a grounding in science-based fact or theory at the time the story was created, but this connection is now limited to hard science fiction.
Document 13: Romance novel: The romance novel or romantic novel discussed in this article is the mass-market literary genre. Novels of this type of genre fiction place their primary focus on the relationship and romantic love between two people, and must have an "emotionally satisfying and optimistic ending." There are many subgenres of the romance novel including fantasy, historical romance, paranormal fiction, and science fiction. Walter Scott defined the literary fiction form of romance as "a fictitious narrative in prose or verse; the interest of which turns upon marvellous and uncommon incidents".
Document 14: Columbia Publications: Columbia Publications was an American publisher of pulp magazines featuring the genres of science fiction, westerns, detective stories, romance, and sports fiction. The company published such writers as Isaac Asimov, Louis L'Amour, Arthur C. Clarke, Randall Garrett, Edward D. Hoch, and William Tenn. Operating from the mid-1930s to 1960, Columbia's most notable magazines were the science fiction pulps "Future Science Fiction", "Science Fiction", and "Science Fiction Quarterly". Other long-running titles included "Double Action Western Magazine" (1934–1960), "Real Western" (1935–1960), "Western Action" (1936–1960), "Famous Western" (1937–1960), "Today's Love Stories" (1938–1959), and "Super Sports" (1939–1957). In addition to pulp magazines, the company also published some paperback novels, primarily in the science fiction genre.
Document 15: Marriage plot: Marriage plot is a term used, often in academic circles, to categorize a storyline that recurs in novels most prominently and more recently in films. Until the expansion of the definition of marriage to include same-sex couples, this plot centered exclusively on the courtship rituals between a man and a woman and the obstacles that faced the potential couple on its way to the nuptial payoff. The marriage plot became a popular source of entertainment in the 18th and 19th centuries with the rise of the middle class novel. The foremost practitioners of the form include some of the more illustrious names in English letters, among them Samuel Richardson, Jane Austen, George Eliot and the Brontë sisters.
ground_truth: John Spencer & Co.